M' VAUGHN 
MILLBOUPvN 


CHICAGO 


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PAINTER  AND  ENGRAVER: 
FIRST  ROYAL  PRINTER  :  RE/ 
FORMER  OF  ORTHOGRAPHY 
AND  TYPOGRAPHY  UNDER 
FRANCOIS  I. 

AN  ACCOUNT  OF  HIS  LIFE 
AND  WORKS,  BY  AUGUSTE 
BERNARD,  TRANSLATED  BY 
GEORGE  B.  IVES. 


THE  RIVERSIDE  PRESS  :  MDCCCCIX 


PRINTERS'  PREFACE. 


ERNARD'S  monograph  on  Tory  was first 
published  in  1857,  when  M.  Bernard  was 
already  a  recognized  authority  on  the  his- 
tory of  typography .  1 8  65 ,  after  an  inter- 
val devoted  largely  to  a  search  for  further 
information  concerningTory,  andf or  prob- 
able examples  of  his  work  as  an  artist ^  a 
second  edition  of the  book  appeared,  enlarged 
by  more  than  one-half,  arranged  more  sys- 
tematically, and  embellished  with  several 
additional  engravings  of  designs  which  are,  in  the  author  s  opinion,  at- 
tributable to  Tory.  The  Iconography,  which  forms  the  third  part  of  this 
revised  edition,  did  not  appear  as  such  in  the  first  edition,  although  a 
small  part  of  the  material  it  contains  may  be  found  scattered  through 
that  edition.  It  now  occupies  more  space  than  the  Biography  and  Biblio- 
graphy combined.  The  new  arrangement  necessitated  more  or  less  repeti- 
tion where,  as  in  many  instances,  the  same  book  is  referred  to  by  M. 
Bernard  in  more  than  one  section  of  his  work ;  and  this  repetition  some- 
times reveals  discrepancies  between  the  different  descriptions.  Where 
such  discrepancies  have  been  discovered  by  him  the  translator  has  en- 
deavoured to  correct  them,  generally,  in  the  absence  of  an  opportunity 
to  inspect  the  volume  in  question,  assuming  that  the  description  in  the 
bibliographical  section  is  more  likely  to  be  trustworthy ;  in  a  number  of 
cases,  however,  inspection  of  title-pages  themselves,  or  of  reproductions 
ther-eof  has  enabled  him  to  correct  numerous  minor  errors  in  transcrip- 
tion. 


The  kindness  of  the  late  Mr.  AmorL.  Hollingsworth,  in  lending  his 
fine  copy  of  the  first  edition  of^  Champ fieury^  made  it  possible  to  collate 
therewith  M.  Bernard's  numerous  extracts  from  that  rare  and  interest- 
ing booky  and  to  ensure  entire  accuracy  with  respect  to  them. 

As  M.  Bernard  writes  certain  printers'  names  in  different  ways^  the 
translator  has  assumed  that  the  names  are  printed  differently  in  differ- 
ent books y  and  has  not  attempted  to  make  them  uniform.  Such  names 
are  Dubois  {Du  Bois),  Lecoq  {Le  Coq),  Galliot  (Galiot).  The few  notes 
supplied  by  the  translator  are  inserted  in  square  brackets. 

The  translations  of  Tory  s  various  Latin  effusions  ^  including  the  com- 
plete text  of  the  little  brochure  called forth  by  the  death  of  his  daughter 
Agnes  y  were  made  by  Mr.  f.  W.  H.  Walden  of  Cambridge.  The  Latin 
originals  will  be  found  at  the  end  of  the  booky  in  Appendix  X. 

Since  such  authorities  as  M.  Bernard  and  M.  Renouvier  differ  as  to 
the  ascription  to  Tory  of  many  of  the  designs  mentioned  in  this  worky  it 
seemed  the  wiser  course  to  choose  for  illustration  only  such  subjects  as  are 
described  by  the  author  y  without  questioning  the  soundness  of  his  reason- 
ing or  the  infallibility  of  his  deductions.  The  only  exception  is  the  beau- 
tiful design  reproduced  on  the first  page  of  the  Index.  This  is  taken from 
Robert  Estienne's folio  New  Testament  [in  Greek)  of  i^^OyWherey  with 
two  other  similar  decorations  y  it  occurs  in  conjunction  with  the  friezes 
and floriated  Greek  letters  reproduced  elsewhere  in  this  volume.  They  are 
unsignedy  but  all  are  indubitably  from  the  same  hand.  Although  they  are 
not  mentioned  by  M.  Bernardy  it  seems  incredible  that  he  should  never 
have  seen  them. 

The  printer  of  this  volume  has  had  more  than  ordinary  good  fortune 
in  literally  stumbling  upon  most  of  the  designs  here  reproduced.  The  pres- 
sure of  other  work  has  prohibited  systematic  research  y  and  the  originals 
of  these  illustrations  were  nearly  all  discovered  while  he  was  engaged 
upon  other  matters.  Many  were  found  in  the  Harvard  Library  y  some  in 
the  reference  library  of  the  Riverside  Press  y  some  in  auction  rooms,  and 
some  in  booksellers'  catalogues.  The  only  exception  is  the  series  of  borders 
from  the  Hours  of  1524-25,  which  were  expressly  photographed  from 
the  copy  in  the  library  of  the  British  Museum. 


T^hat  so  much  has  come  to  hand  in  so  haphazard  a  way  is  but  an  addi- 
tional proof  of  Tory's  industry  and  versatility.  There  seems  to  be  almost 
no  limit  to  the  work  which  may  fairly  be  credited  to  him^  and  M.  Ber- 
nard hardly  exaggerated  when  he  said  that  there  was  scarcely  an  illus- 
trated volume  of  any  importance  issued  in  Paris  during  the  first  half  of 
the  ^KNlth  century  in  which  the  artist  of  the  Lorraine  cross  did  not  have 
a  hand.  Hours  and  Classics  ^  Bibles  and  Testaments^  Mathematical  and 
Medical  works  —  all  bear  evidence  to  his  prolific  pen  and  graver,  and 
were  time  disregarded,  the  preparation  of  this  volume  might  be  almost  in- 
definitely prolonged.  Incomplete  as  it  is,  however,  it  is  hoped  that  it  will 
measurably fulfill  the  desire  expressed  by  Mr.  A.  W.  Pollard  nearly fif- 
teen years  ago,  in  the  first  issue  of  ^Bibliographic  a.'  Speaking  of  Ber- 
nard" s  monograph,  he  said,*  It  would  be  pleasant  if someFrench  publisher 
would  bring  out  a  new  edition  worthily  illustrated,for  in  1 8  65  the  modern 
processes  of  reproduction  were  not  yet  invented,  and  the  few  and  poor 
woodcuts  in  M.  Bernard' s  book  give  no  just  idea  of  the  artistic  powers 
of  Tory,  whose  illustrated  editions  are  so  difilicult  to  meet  with  that  M. 
Bernard's  admirable  commentary  loses  half its  value for  lack  of a  proper 
accompaniment  of  text.' 

A  word  regarding  the  method  of  reproduction  of  these  illustrations 
may  not  be  out  of  place  here.  More  was  aimed  at  than  mere  photographic 
copies,  which  are  in  many  ways  inadequate.  It  was  thought  desirable  to 
make  the  decorations  an  integral  part  of  the  typographic  treatment  of 
the  volume  and  to  preserve  when  practicable  their  original  relations  to 
the  type.  To  attain  this  end,  more  perfect  printing  plates  were  necessary 
than  could  be  obtained  directly  from  the  old  editions.  The  designs,  there- 
fore, were  all  redrawn  with  the  greatest  care  over  photographs  of  the 
originals,  and  from  these  drawings  photo-engravings  made,  which  were 
afterward  perfected  by  hand  when  the  forms  were  on  the  press. 

Notwithstanding  some  inevitable  slight  divergences  of  line,  this 
method  preserves  with far  greater faithfulness  the  spirit  and  effect  of the 
original  prints,  and  the  result  is  more  truly  a facsimile  than  a  direct  pho- 
tographic copy  would  have  been.  Both  drawing  and  engraving  of  Tory' s 
designs  were  exquisite,  and  as  a  rule  they  were  beautifully  printed,  espe- 


dally  by  Colines  and  Robert  Estienne.  Some  of  theniy  however^  suffered 
at  the  hands  of  inferior  printers.  Imperfections  and  irregularities  due  to 
the  carelessness  or  unskilfullness  of  the  printer  are  readily  discernible, 
and  in  the  reproductions  in  this  volume  have  been  eliminated.  The  pre- 
servation,  by  this  treatment  y  of more  of the  beauty  and  interest  of  the  orig- 
inals is  sufficient  justification for  departing  to  this  extent from  the  usual 
methods  of  facsimile  reproduction. 

Following  the  French  fashion,  the  Table  of  Contents  and  hist  of 
Illustrations  are  printed  at  the  end  of  the  volume. 

G.  B.  I. 
B.  R. 


January,  1 909. 


AUTHOR'S  PREFACE  TO  THE 
SECOND  EDITION. 


HE  first  half  of  the 
sixteenth  century  was 
with  respect  to  prints 
ing  (as  with  respect  to 
the  other  arts)  a  period 
of  renovation,  not  in 
the  matter  of  processes 
of  execution,  which  remained  about  the 
same  as  in  the  fifteenth  century,  but  in  the 
matter  of  the  makeup  of  books,  which  was 
entirely  revolutionized.  Typographical  ar^ 
rangement,  appearance  of  the  letters  and 
ornaments,  everything,  even  to  the  cover, 
was  changed  almost  at  the  same  time,  or,  at 
all  events,  within  a  very  few  years.  At  that 
time  printing  gave  over  the  servile  copying 
of  manuscripts,  which  had  at  first  served  it 
as  models,  and  adopted  special  rules,  better 


43  C 


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^1 


i 


1^ 


adapted  to  its  method  of  execution.  For  in^ 
stance,  it  relegated  notes  to  the  foot  of  the 
pageSjCaUing  attention  tothem  bymarksof 
reference,  instead  of  placing  them  at  the 
side  of  the  text,  as  had  previously  been  the 
custom,  at  the  cost  of  an  enormous  amount 
of  labour,  without  benefit  to  the  reader.  It 
also  abandoned  the  use  of  red  capitals,' 
which,  by  increasing  the  labour  twofold, 
made  books  expensive,  and  replaced  them 
by  floriated  letters,  which  were  quite  as  dis^ 
tinctive,  but  were  set  up  and  printed  with 
the  text.  This  style  of  ornament,  so  favour^ 

I .  This  term,  which  is  wrongfully  used  in  printing  to- 
day to  denote  all  majuscules,  was  formerly  employed  only 
for  the  initial  letters  of  chapters.  It  was  in  this  sense  that 
Schoeffer  used  it  when  he  said,  in  1457,  that  his  Psalter 
was  venustate  capitalium  distinctus  [distinguished  by  the 
beauty  of  its  capitals]  ;  also  Chcvillier,  when  he  wrote  in 
the  Origine  de  I'  Imprimerie  de  Paris  (  page  32),  that  the 
books  of  the  first  printers  of  Paris  had  no  'capitals,'  the 
chapter  initials  being  left  blank,  to  be  made  by  the  illumin- 
ators. M.  Crapelet,  taking  the  word  in  its  present  mean- 
ing, concluded  therefrom  that  the  books  of  Gering  and  his 
associates  were  without  majuscules;  and  he  thereupon  at- 
tributes the  introduction  of  roman  letters  in  Paris  to  Josse 
Bade,  in  the  sixteenth  century,  but  he  is  altogether  wrong. 


15^ 


Hi 


able  to  artistic  results,  developed  rapidly, 
and  soon  extended  from  the  letters  to  the 
illustrations,  which  began  to  be  introduced 
in  books  in  constantly  increasing  numbers. 
Under  the  general  impulsion  of  the  Renais' 
sance,  engraving  was  transformed :  instead 
of  the  coarse  woodcuts,  of  the  so-called  cri^ 
ble  style,  in  which  the  background  was  black 
sprinkled  with  white  dots,'  and  the  design 
stamped  in  white,  as  with  a  punch,  engrav-' 
ing  in  relief  came  into  vogue,  just  as  we 
have  it  to^'day,  identical  in  form,  although 
the  processes  have  been  perfected.  A  simi^ 
lar  revolution  took  place  in  the  matter  of 
letters :  the  gothic  or  semi^gothic  charac^ 
ters,  which  had  hitherto  been  used,  were 
replaced  by  roman  characters  of  a  novel 
shape,  borrowed  from  the  monuments  of 
antiquity  (then  studied  with  great  ardour), 
which  continued  in  use  until  the  Revolu^ 
tion.  Lastly,  the  covers  ofbooks  also  under ^ 
went  a  transformation  brought  about  by 

I.  [_Crii/e, ]it.  sifted.] 


9t 


the  force  of  events :  the  parchment  rolls 
used  by  the  ancients  had  been  succeeded, 
during  the  Middle  Ages,  by  bound  vol' 
umes,  of  a  shape  more  convenient  for  read' 
ing ;  these  volumes,  of  which  those  vv^ho 
w^ere  fortunate  enough  to  own  any  never 
owned  more  than  a  very  small  number,  be' 
ing  intended  to  be  arranged  on  the  library 
shelves  in  such  wise  as  to  present  one  side 
to  the  visitor's  eye,  were  adorned  with 
numerous  ornaments  of  various  sorts  on 
that  side,  so  that  they  could  easily  be  dis' 
tinguished.  Later,  these  ornaments  were 
omitted  and  the  title  of  the  book  substitu' 
ted,  in  huge  black  or  gauffered  letters.  But 
the  invention  of  printing  soon  caused  that 
device  to  be  abandoned.  As  the  increasing 
numbers  of  books  made  it  impossible  to 
give  up  so  much  space  to  them,  they  were 
arranged  side  by  side  on  the  shelves,  care 
being  taken  to  print  the  title  in  gold  letters 
(so  that  it  might  be  more  legible)  on  the 
backofthe  book,  which  was  the  only  part  of 


m 


m 


it  in  sight.  This  innovation  compelled  the 
doing  away  with  raised  decorations,  espe' 
cially  those  in  precious  stones  or  in  metal, 
which  would  have  torn  the  books  that 
stood  next  them.  Thereafter  leather  bind' 
ing  came  into  general  use  ;  the  gauffering 
on  the  sides  was  continued  for  some  time ; 
but  in  the  sixteenth  century  this  in  turn 
was  replaced  by  gold  tooling  '  a  filet,'  and 
the  transformation  was  complete. 

THE  man  who  contributed  most  large' 
ly  to  the  threefold  evolution  I  have 
described  was  Geofi^oy  Tory,  a  man  who  is 
hardly  known  to'day,'  despite  all  his  talents, 
although  he  received  in  1 530,  as  reward  of 
his  labours,  the  title  of  king's  printer,  which 
Francois  I  had  never  before  bestowed  upon 
any  one.  I  say  that  Tory  is  hardly  known  to' 

I .  I  retain  the  phraseology  of  the  first  edition  of  my 
book,  published  in  1856;  but  the  fact  is  that,  thanks  to 
that  publication, Tory  is  no  longer  in  the  same  plight.  His 
books  have  become  formidable  rivals  to  those  of  Vostre, 
Verard,  etc.  One  of  his  Books  of  Hours  sold  recently  for 
more  than  3000  francs.  [Note  to  2d  edition,  1865.] 


m 


day ;  in  truth,  it  is,  in  his  case,  equivalent 
to  being  unknown,  tD  be  known,  as  he  is, 
only  as  a  publisher.  Some  few  scholars,  to 
be  sure,  are  aware  that  he  was  a  printer ;  but 
the  fact  is  so  little  known  that  his  biogra-' 
pher  has  denied  it.'  As  for  his  noblest  title 
to  fame,  that  of  engraver,  nobody  is  aware 
of  it ;  and  yet  we  owe  to  Tory  the  resusci'' 
tation  of  engraving  in  France.  As  the  his^ 
torian  of  typography,^  I  have  thought  that 
it  was  for  me  to  describe  with  special  care 
one  of  the  fairest  jewels  in  his  crown.  Such 
is  the  purpose  of  the  work  here  presented, 
wherein  will  also  be  found,  in  connection 
with  the  honour  paid  to  Tory  by  Francois 
I,  some  information  concerning  the  first 
royal  printers,  and  a  list  of  those  officers 
from  the  beginning  down  to  the  extinction 
of  the  office  in  1830,  three  centuries,  year 
for  year,  after  its  creation.  Francois  I  is,  in 

1.  See  La  Biographic  Universelle,  article  '  Tory,'  by 
M.  Weiss,  City  Librarian  of  Besanjon. 

2.  See  my  book,  entitled :  De  /'  Origine  et  des  Debuts 
de  P  Impr inter ie  en  Europe;  2  vols. ,  8  vo,  1853. 


1?^ 


truth,  entitled  to  be  considered  the  creator 
of  the  office  of  king's  printer,  for  prior  to 
his  reign  we  find  but  one  typographer  who 
bore  that  title,  while,  fi-om  Francois  1  down, 
the  series  of  king's  printers  was  not  again 
interrupted.  The  appointment  of  Pierre  le 
Rouge,  on  whom  the  title  was  bestowed  in 
1488,'  may  be  creditable  to  Charles  VIII, 
but  it  was  without  result.  The  honour  of 
having  made  of  the  eminently  literary  post 
of  king's  printer  a  permanent  office  reverts 
of  right  and  naturally  to  the  prince  who  has 
been  called  the  Father  of  Letters.  In  truth 
that  prince,  as  we  shall  see  hereafter,  was  not 
content  with  a  single  printer ;  he  had  sev/ 

I .  In  the  imprint  of  the  Mer  des  Histoires,  z  vols. ,  folio, 
completed  in  1488  (1489,  new  style),  we  read:  'Im- 
primee  par  Ma  is  (re  Pierre  le  Rouge,  libraire  et  imprimeur 
du  Roy^ ;  but  he  assumed  the  latter  title  only  once,  and  in 
my  opinion  it  was  the  result  of  a  misapprehension.  He 
seems  in  fact  to  have  been  king's  bookseller  only ;  at  all 
events  he  assumes  that  title  in  the  Heures  a  /'  JJsage  de 
Rome,  which  he  published  in  1 49 1 .  In  any  case,  his  as- 
sumption of  the  title  does  not  prove  that  he  received  royal 
letters  patent,  as  all  the  other  printers  did,  as  we  shall  see 
later. 


eral  at  once,  with  distinct  functions,  and  ap^ 
pointed  successors  without  loss  of  time  to 
such  as  retired  or  died  during  his  lifetime. 

But,  I  repeat,  the  principal  purpose  of  my 
work  is  to  make  Tory  known  as  one  of  the 
most  skilful  engravers  we  have  ever  had. 
Of  course  I  cannot  forget  that  he  was  the 
learned  editor  of  the  *  Cosmographie  du 
Pape  Pie  11,'  the  * Itineraire  Antonin,'  etc. ; 
the  publisher,  of  rare  taste,  who  put  forth 
the  Hours  of  1525,  1527,  etc. ;  the  accom^' 
plished  printer  of  the  *  Sacre  de  la  Reine 
Eleonore ,'  and  the  distinguished  philologist 
of'  Champ  fieury,'  to  whom,  as  we  shall  see, 
we  owe  the  invention  of  the  orthographic 
forms  peculiar  to  the  French  language . '  But 
what  has  especially  attracted  me  in  Tory  is 
his  work  as  an  engraver.  In  that  role  he  was 
without  predecessor  or  rival,  for  those  per' 
sons  who  may  be  represented  as  such  may 
have  been  his  pupils,  nothing  more.  Jean 
Duvet  alone  might  quarrel  with  this  limi^ 

I .  Tory  also  essayed  a  reform  in  Latin  orthography,  but 
it  was  less  happily  conceived,  and  did  not  succeed. 


tation ;  but,  although  he  was  Tory's  con^ 
temporary,  he  was  not  his  teacher ;  for  Tory 
had  gone  for  his  schooling  in  the  art  to  the 
very  fountain-head,  to  Italy,  before  Duvet 
produced  anything.  As  for  Jean  Cousin,  de 
Laulne,du  Cerceau,  Leonard  Gauthier,  and 
the  rest,  they  did  not  come  until  after  Tory. 
The  honour  of  re  vivifying  the  artofengrav^ 
ing  in  France  belongs  to  Tory  alone,  be^ 
striding  two  centuries,  the  fifteenth  and  six' 
teenth ;  indeed,  some  of  his  productions  are 
pure  gothic.  This  I  propose  to  demonstrate 
in  the  third  part  of  my  book,  after  I  have, 
in  the  first  part,  narrated  the  general  facts 
of  our  artist's  Ufe,  in  which  we  may  observe 
also  the  development  of  a  revolution  in  the 
matter  of  philology;  for  Tory  was  a  devoted 
partisan  of  the  classic  tongues  before  he  be^ 
came  one  of  the  sturdiest  champions  of  the 
French  language. 

In  order  to  emphasize  the  importance  of 
the  orthographic  reform  achieved  by  Tory, 
I  have  usually  followed  the  orthography  of 
the  time  in  my  quotations  from  ancient 


works.  It  is  an  anachronism,  to  be  sure,  but 
it  is  of  no  consequence  when  the  reader  is 
forewarned.  I  have  also  felt  at  liberty  to  cor^ 
rect  now  and  then,  without  calling  atten" 
tiontothem.the  typographical  errorsfound 
in  the  texts  quoted. 

I  wiU  not  conclude  without  thanking  pub/ 
licly  those  persons  who  have  kindly  assisted 
me  in  my  researches  concerning  Tory.  I 
have  had  occasion  to  mention  their  names 
in  the  course  of  my  work,  but  that  is  not 
enough :  I  beg  them  to  accept  in  this  place 
the  assurance  of  my  gratitude.  There  are  two 
to  whom  I  am  especially  grateful,  for  they 
have  considerably  augmented  my  store  of 
documents :  they  are  MM.  Achille  Deveria* 
and  Olivier  Barbier,  ofthe  Bibliotheque  Im^ 
periale :  it  is  owing  to  their  kind  communis 
cations  to  me  that  the  list  of  Tory's  artistic 
works  will  be  found  not  far  from  complete. 

I .  Alas !  since  this  preface  was  first  printed,  we  have 
had  the  misfortune  to  lose  the  eminent  artist  whom  I  have 
named.  [Note  to  2d  edition.] 


GEOFROY  TORY 

PAINTER  AND  ENGRAVER:  FIRST  ROYAL  PRINTER: 
REFORMER  OF  ORTHOGRAPHY  AND  TYPOGRAPHY 
UNDER  FRANCOIS  I. 

PART  I.  BIOGRAPHY. 

ESS  than  twenty  years  after  the  introduo 
tion  of  printing  at  Paris,  there  was  born 
at  Bourges  a  child  of  the  people,  destined 
to  impart  to  French  typography  a  vigop 
ous  artistic  impulsion,  or,  to  speak  more 
accurately,  to  work  therein  a  genuine 
revolution.  Geofroy  Tory'  was  born  in  the 
capital  of  Berry,  about  1480,  of  obscure, 
middle^class  parents,  as  he  himself  tells 
us/  Everything  seems  to  indicate  that  he 
first  saw  the  Hght  of  day  in  the  faubourg  of  Saint^Prive,  to  this  day  the 
abode  of  humble  vine^dressers.  How,  in  that  most  lowly  condition  of 
life,  he  succeeded  in  acquiring  the  degree  of  education  which  he  after^* 
ward  exhibited,  it  is  hard  to  say.  However,  it  is  proper  to  remember  that 
Bourges  was  at  that  time  a  metropolitan  and  university  city,  where  there 
were  several  schools,  both  ecclesiastic  and  lay.  We  may  well  believe 
that,  having,  at  an  early  age,  aroused  the  interest  of  some  patron  by 
virtue  of  his  fortunate  natural  endowments  and  his  intelligence,  he  was 
admitted  to  the  schools  attached  to  the  chapter,  where  he  learned  the 
first  elements  of  grammar.  We  shall  soon  find  him  dedicating  the  first 
fruits  of  his  labours  to  a  canon  of  the  metropolitan  church  of  Bourges, 
who  seems  to  have  been,  at  that  time,  his  Maecenas. 

Once  master  of  the  first  rudiments  of  grammar,  Tory  perfected  him' 
self  by  following  the  curriculum  of  the  university,  where,  as  we  learn 
from  himself,  he  had  for  his  teacher  a  Fleming  named  Guillaume  de 

1 .  I  write  these  two  names  as  our  artist  himself  wrote  them;  but  it  is  a  well-known  fact  that 
the  orthography  of  proper  names  in  the  sixteenth  century  was  very  uncertain.  As  to  the  family 
name  especially,  Geofroy' s  ancestors  and  descendants  wrote  it  indifferently  Toury,  Tory,  and 
Thory;  but  Geofroy  never  varied:  he  always  wrote  Tory  in  French,  Torinus  in  Latin  (which 
should,  strictly  speaking,  be  translated  Torin').  See  further,  on  this  subject.  Appendix  A. 

2.  Champ  fleury,  fol.  i  verso:  ' Combiem [^/V]  que  ie  soye  de  petitz  &  humbles  pares,  & 
aussi  que  ie  soye  pouure  de  biens  caduques.' 


2 


GEOFROY  TORY 


Ricke,  otherwise  called  'le  Riche'  in  French  and  'Dives'  in  Latin;  and 
for  a  fellow  disciple  under  this  Ghent^born  master,  a  certain  Herverus 
de  Berna,  from  Saint' Amand,  who  afterward  wrote  a  panegyric  of  the 
Comtes  de  Nevers.' 

Tory  then  went,  to  finish  his  literary  education,  to  Italy,  whither  he 
betook  himself  early  in  the  sixteenth  century.  He  sojourned  principally 
in  Rome,  where  he  attended  most  frequently  the  famous  college  called 
La  Sapienza,^  and  in  Bologna,  where  he  attended  the  lectures  of  the 
celebrated  Filippo  Beroaldo,  who  died  in  1 505.3  Tory  returned  to  France 
a  little  before  that  event,  and  established  his  domicile  in  Paris,  which 
he  always  loved  henceforward  as  one  loves  one's  native  city,'^  and  where 
he  began  his  literary  career. 

The  first  work  of  his  of  which  we  have  any  knowledge  is  an  edition 
of  Pomponius  Mela,  which  he  prepared  for  the  bookseller  Jean  Petit; 
it  was  printed  by  Gilles  de  Gourmont  because  it  required  the  use  of 
some  Greek  type.5  This  book  was  dedicated  by  Tory  to  his  compatriot 
Philibert  Babou,  at  that  time  valet  de  chambre  to  the  king.  The  dedi' 
catory  epistle  is  dated  Paris,  the  VI  ^  of  the  Nones  of  December,  1507; 
but  the  printing  of  the  book  was  not  completed  until  January  10, 1508 
(new  style). 7  Several  articles  in  this  volume,  which  were  written  by 
Tory,  are  signed  by  the  word  civis,  which  he  had  adopted  for  his  de^ 
vice.  That  patriotic  designation  was  well  suited  to  a  descendant  of  those 
Bituriges  who  strove  vainly  at  Avaricum^  to  defend  the  autonomy  of 
Gaul  against  Cassar.  In  any  event  it  is  interesting  to  find,  three  hundred 
years  before  Jeanjacques  Rousseau,  a  man,  justly  proud  of  his  learn/ 
ing,  which  he  owed  entirely  to  himself,  clothing  himself  in  that  title  of 
citizen,  which  was  formerly  held  in  such  honour  in  the  provincial 
cities,  and  especially  in  Bourges,  whose  name  Tory  never  fails  to  append 
to  his  own :  'Geofroy  Tory  de  Bourges.' 

This  erudite  production  and  the  patronage  of  Philibert  Babou  were 
perhaps  responsible  for  Tory's  appointment  to  the  office  of  regent,  othep 

1.  See  Part  2,  infra,  Bibliography,  §  i,  no.  3. 

2.  He  mentions  it  on  every  page  of  his  Champ  fleury. 

3.  We  read  in  Champ  fieury,  fol.  49  verso:  'Come  lexposent  tresingenieusem?t  &  ele- 
gatem5t  Philipes  Beroal  &  Jehan  baptiste  le  piteable,  q  iay  veuz  &  ouyz  lire  publiquemt,  il  ya. 
XX.  ans,  en  Bonoigne  la  grace.*  Champ  fieury  was  conceived  in  1524,  but  was  not  finished 
until  I  5  26,  the  date  of  the  license  to  print. 

4.  See  Champ  fleury,  fol.  6  recto. 

5.  As  to  Gourmont' s  Greek  type,  see  my  Les  Estienne,  pp.  62  ff. 

6.  Doubtless  we  should  read  IV  (December  2),  for  there  is  no  VI  of  the  Nones  of  De- 
cember. 

7.  See  the  description  of  the  book  in  Part  2,  §  i,  no.  i.  8.  [The  modern  Bourges.] 


BIOGRAPHY  3 

wise  called  professor,  of  the  College  of  Plessis,  where  we  find  him  in' 
stalled  in  1509.  It  was  there  that  he  edited  for  the  first  Henri  Estienne 
the  'Cosmographie  du  pape  Pie  II.' ' 

The  dedication  of  this  book,  addressed  by  Tory  to  Germain  de  Gannay, 
canon  of  the  metropolitan  church  of  Bourges,  and  recently  appointed 
Bishop  of  Cahors  by  King  Louis  XII,^  was  dated  at  the  College  of  Ples' 
sis,  on  the  VI  of  the  Nones  of  October,^  1 509.  Tory's  edition  (the  third 
according  to  him)  contains  fortyone  quarto  sheets  of  text,  and  is  accom" 
panied  by  a  map  of  the  old  world  The  'avis  au  lecteur,'  also  written  by 
Tory,  is  signed,  according  to  his  custom,  with  the  word  civ  is.  In  the 
following  year,  in  collaboration  with  a  compatriot  and  fellow  pupil, 
Herverus  de  Berna,  Tory  published  a  short  Latin  poem  on  the  Passion, 
written  by  his  former  teacher,  Guillaume  de  Ricke.  In  this  wise  he  ac 
quitted  his  debt  of  gratitude.'^  Shortly  after,  Tory  published  for  the  Mar^ 
nef  brothers  an  edition  of  Berosus,  who  was  then  much  in  vogue,  thanks 
to  the  fabrications  of  Annius  of  Viterbo.  This  book,  the  preface  of  which 
is  dated  May  9, 15 10,  went  to  no  less  than  three  editions,  to  say  nothing 
of  those  issued  by  other  publishers.' 

In  the  same  year  Tory  published  for  the  same  booksellers  a  small 
volume  of  miscellanies,  under  this  title:  'Valerii  Probi  grammatici  de 
interpretandis  Romanorum  literis  opusculum,  cum  aliis  quibusdam  scitu 
dignissimis.'  It  was  probably  printed  by  Gilles  de  Gourmont,  for  we  find 
in  it  his  unaccented  Greek  type.^  This  volume,  which  contains  twelve 
octavo  sheets,  has  two  engravings  on  wood — the  mark  of  the  booksell/ 
ers  on  the  title-page,  and  a  Roman  portico  a  little  farther  on.  There  are 
also  a  few  small  cuts  engraved  on  metal  in  one  of  the  articles.  The  ded^ 
icatory  epistle,  dated  at  the  College  of  Plessis  the  VI  of  the  Ides  of  May 
(May  10),  1 510,  and  addressed  by  Tory  to  two  compatriots,  who  had 
probably  been  his  fellow  pupils,  is  signed  by  his  device,  the  word  civis. 
The  dedication  begins  thus:  *Godofi"edus  Torinus  Bituricus  ornatissimos 
Philibertum  Baboum  et  loannem  Alemanum  luniorem,  cives  Bituricos, 

1.  Enea  Silvio  Piccolomini,  commonly  called  ^neas  Sylvius.  See  Part  2,  §  i,  no.  2. 

2.  Germain  de  Gannay,  Ganaye,  or  Gannaye,  son  of  Nicolas  and  brother  of  Jean,  Chan- 
cellor of  France,  had  become  a  counsellor  in  the  Parliament  of  Paris,  on  the  resignation  of  Jean 
Jouvenel  des  Ursins,  by  letters  patent  of  1485  ;  appointed  Bishop  of  Cahors,  by  royal  letters 
issued  at  Vienne  in  Dauphine,  August  14,  1 509,  in  opposition  to  Guy  de  Chateauneuf,  who 
was  chosen  by  election  but  yielded  his  claim  to  him,  he  was  consecrated  May  4,  i  5 1 1 .  In 
1 5 1 2  he  inherited  the  property  of  his  brother  the  Chancellor,  and  did  homage  for  the  seigniory 
of  Persan  on  June  18.  He  was  translated  to  the  bishopric  of  Orleans  in  1 5 1 4,  and  died  in  1520. 

3.  October  2.  5.  Ibid.  no.  4. 

4.  See  Part  2,  §  i,  no.  3.  6.  See  my  Les  Estienne,  pp.  62  fF. 


4 


GEOFROY  TORY 


pari  inter  se  amicitia  conjunctissimos,  salutat.'  Babou  and  Lallemant  were 
at  this  time  two  important  personages  in  Bourges:  the  former  was  secret 
tary  and  silversmith  to  the  king,  the  other,  mayor  of  the  city.  We  see  that 
Tory  had  acquired  valuable  connections  in  his  native  place,  despite  his 
modest  origin.  Among  the  extracts  from  ancient  authors  in  this  book  he 
interspersed  several  pieces  of  verse  of  his  own  composition.' 

Finally,  in  the  same  year,  Tory  issued  an  edition  of  Quintilian's  '  In^ 
stitutiones,'  carefully  collated  by  him  with  several  manuscripts.  This 
work  was  undertaken  at  the  request  of  Jean  Rousselet,  Seigneur  de  La 
Part/Dieu,  near  Lyon,  and  an  ancestor  of  Chateau'Regnaud,  Marechal 
de  France.  This  Rousselet,  who  died  in  1520,  belonged  to  one  of  the 
wealthy  Lombard  families  which  had  settled  at  Lyon  long  before;  they 
made,  as  we  see,  a  noble  use  of  their  wealth.  His  real  name  was  Ruccelli. 
He  had  married  a  young  gentlewoman  of  Bourges,  Jeanne  Lallemant, 
daughter  of  Jean  Lallemant,  Seigneur  de  Marmagne,  a  school  friend  of 
Tory,  whom  I  have  already  had  occasion  to  mention.  Doubtless  it  was 
this  connection  which  brought  Tory  into  relations  with  Rousselet.  The 
text  is  preceded  by  the  following  dedicatory  letter: 

Geofroy  Tory  of  Bourges  to  yean  Rousselet^  devoted  lover  of  letters^ 
long  Ufe  and  happiness. 

Never,  I  think,  most  illustrious  Jean,  will  you  omit  or  cease  to  have 
the  aspiration  of  nobly  justifying,  both  by  your  character  and  by  your 
good  deeds,  the  great  hopes  which  your  relatives  and  your  country  have 
of  you.  That  you  might  benefit  the  State  by  your  counsel  also,  you  made 
it  your  interest  that  I  should  emend  Quintilian  and  have  him  printed 
as  handsomely  as  might  be.  After  carefully  collating  a  large  number  of 
manuscripts,  I  industriously  set  to  work  and,  by  eliminating  almost  counts 
less  errors,  I  made  a  single  manuscript  of  considerable  accuracy.  This,  in 
accordance  with  your  orders,  I  sent  from  Paris  to  Lyon.  I  only  hope  that 
the  printers  will  not  introduce  other,  new,  errors.  Farewell,  and  love  me. 

Paris,  at  the  College  of  Plessis,  the  third  of  the  Calends  of  March.  ^ 

This  book,  which  forms  a  large  octavo  volume,  unpaged,  printed  in 
italic  type,  and  in  which  we  find  some  most  attractive  Greek  type,  with 
accents,  was  finished  on  the  VII  of  the  Calends  of  July  (that  is  to  say, 
June  25),  1 510.  The  printer's  name  does  not  anywhere  appear,  and  the 
place  of  printing  (Lyon)  is  mentioned  only  in  Tory's  letter.^ 

I .  See  Part  2,  §  i ,  no.  5.    2.  For  Latin  text,  see  Appendix  X,  <?.    3.  See  Part  2,  §  i,  no.  6. 


BIOGRAPHY  5 

I  know  of  nothing  of  Tory's  dated  in  151 1';  but  that  does  not  prove 
that  he  produced  nothing  in  that  year,  for  it  is  certain  that  about  that 
time  he  published  several  works  which  have  not  come  down  to  us.  In 
fact,  he  tells  us  in  his  'Champ  fleury'^  that  he  has  'caused  to  be  printed 
and  put  before  the  eyes  of  worthy  scholars  divers  little  works  in  Latin, 
both  in  verse  and  in  prose.'  Now  we  know  of  nothing  of  his  in  verse 
prior  to  1524,  except  what  we  find  at  the  end  of  the  'Valerius  Probus* 
of  1 510,  and  of  Guillaume  de  Ricke's  'Passion.'  Moreover,  the  absence 
of  any  publication  by  Tory  in  151 1  may  be  explained  by  the  confusion 
incident  to  his  retirement  from  the  College  of  Plessis  and  his  installation 
at  the  College  Coqueret,  which  seems  to  have  taken  place  in  that  year, 
but  concerning  which  I  have  no  other  information  than  the  imprint  on 
two  books  published  by  him  in  the  following  year. 

The  first  work  edited  by  Tory  in  1 5 1 2  was  an  architectural  treatise 
entitled:  'Leonis  Baptistae  Alberti  Florentini. — Libri  de  re  ^dificatoria 
decem,'  etc.;  a  quarto  volume  of  14  preliminary  leaves  and  174  leaves 
of  text.  This  book  was  printed  by  Berthold  Rembolt  (whose  mark  it 
bears  on  the  first  page),  at  the  joint  expense  of  that  printer  and  the 
bookseller  Louis  Hornken,  whose  mark  is  at  the  end  of  the  book.  The 
dedication,  which  is  addressed  to  Philibert  Babou,  and  dated  at  the  Col' 
lege  Coqueret  on  the  XV  of  the  Calends  of  September  (August  18), 
1 5 1 2,  informs  us  that  Tory  received  the  manuscript  of  the  book  from 
his  friend  Robert  Dure,^  principal  of  the  College  of  Plessis,  who  gave 
it  to  him  four  years  earlier,  when  Tory  himself  was  professor  at  the 
same  college.  As  always,  this  dedication  is  signed  civis.  A  note  on  the 
last  page  but  one  informs  us  that  the  printing  was  finished  on  August 
23,  1512.'^ 

The  second  work  put  forth  by  Tory  in  1 5 1 2  was  the '  Itinerarium  An^ 
tonini.'  It  was  the  second  book  that  he  prepared  for  Henri  Estienne,  in 
whose  establishment  it  has  been  said  ^  (erroneously,  I  think)  that  he  filled 
the  post  of  corrector  of  the  press.  However  that  may  be,  the  dedication, 
addressed  by  Tory  to  Philibert  Babou,  is  dated  at  the  College  Coqueret 

1 .  One  of  the  three  editions  of  Berosus  bears  that  date,  but  our  artist  probably  had  nothing  to 
do  with  that  edition.  [Note  added  by  the  author  after  the  book  had  gone  through  the  press,] 

2.  Fol.  I  recto. 

3.  This  principal  of  the  College  of  Plessis  is  here  called  Robertus  Duraeus  Fortunatus.  Du 
Boulay  calls  him  simply  Robertus  Fortunatus,  in  his  Histoire  de  /'  Universite  de  Paris,  vol. 
vi.  p.  159.  Elsewhere  he  is  called  Dure  (Dure?).  In  the  index  of  the  same  volume,  Du  Bou- 
lay, under  the  name  of  Robertus  Fortunatus,  refers  to  a  list  of  the  principals  of  the  College  of 
Plessis,  which  he  omitted  to  publish. 

4.  See  Part  2,  §  i,no.  7.  5.  Biographie  Universelle,  art.  'Tory.' 


6 


GEOFROY  TORY 


the  XIV  of  the  Calends  of  September  (August  19),  151 2.  Tory  says  to 
Babou  that  he  had  dispatched  a  copy  of  the  manuscript  of  this  book  to 
him  at  Tours  four  years  before  (that  is  to  say,  in  1 508) ,  but  that  the  person 
to  whom  it  was  entrusted  for  dehvery  to  him  had  given  it,  in  his  own 
name,  to  somebody  else.  This  time,  in  order  not  to  be  defrauded  of  the 
fruits  of  his  labours,  he  had  caused  the  work  to  be  printed  from  his  own 
copy,  having  carefully  collated  it  with  a  manuscript  lent  him  by  Chris/ 
tophe  de  Longueil.'  The  volume  is  a  sexto^decimo,  remarkable  for  the 
beauty  of  its  execution.  The  copy  in  vellum  which  I  have  seen  at  the  Bib/ 
liotheque  Nationale  is  still  redolent  of  the  fifteenth  century.  We  find  in 
it  certain  verses  of  the  Burgundian  Gerard  de  Vercel  in  honour  of  Tory, 

which  prove  that  the  latter  was  even  then  in 
some  repute  as  a  scholar,  and  as  a  printer, 
too ;  for  the  author  contrasts  him  with  the 
wretched  printers  of  the  day.  The  prelimi/ 
nary  matter,  by  Geofroy  Tory,  is  signed  by 
the  word  civis,  printed  in  red.  At  the  end 
of  the  volume  the  same  word  reappears  in  a 
very  curious  monogram  composed  of  the  let/ 
ters  C I V  S  so  arranged  that  we  can  read  the 
word  CIVIS  in  all  directions.  Therein  we  may 
detect  thus  early  Tory's  taste  for  ciphers  and  devices,  a  taste  to  which  he 
afterward  gave  free  rein,  in  his  '  Champ  fleury.' 

At  this  epoch  occurs  a  momentous  event  in  Geofroy  Tory's  life.  On 
August  26, 151 2,  he  became  the  father  of  a  daughter,  who  was  christ/ 
ened  Agnes.  I  do  not  know  the  date  of  his  marriage,  but  it  was  at  least 
as  early  as  1 5 11 .  A  document  of  much  later  date,  to  which  we  shall  have 
occasion  to  refer  hereafter,  informs  us  that  his  child's  mother  was  named 
Perrette  le  HuUin.  There  is  reason  to  believe  that  she,  like  her  husband, 
was  of  Bourges,  as  the  name  of  Hullin  was  common  there  at  that  time. 
Soon  after  the  birth  of  Agnes,  perhaps  just  at  the  opening  of  the  term 
of  1 512,  Tory  entered  the  College  of  Bourgogne  as  regent,  or  professor 
of  philosophy.  His  lectures,  which  were  continued  for  several  years,  were 
attended  by  a  large  number  of  hearers,  if  we  may  believe  a  poetical  epi/ 
taph  composed  in  laudation  of  him  and  published  by  La  Caille.^  Tory 

1.  See  Part  2,  §  1,  no.  8  (p.  70). 

2.  Histoire  de  P  Imprimerie,  p.  100  :  Siste,  viator, —  et  jacentes  etiam  arte 5  colito.  — 
Hie —  Godofredus  Torinus  Bituricus, —  ubique  litter  is  librisque  clarissimus, —  qui —  Parisiis 
multos  per  annos  philosophiam  —  docuit  maximo  concur su,  —  ///  regio  Burgundia  collegia, — 
simulque  artem  exercuit  typograpbicam, — novam  tunc  ac  recentem  brevi  perpolitam — tamen 


BIOGRAPHY  7 

himself  seems  to  refer  to  this  professorship  in  his  'Champ  fleury,' '  but 
I  have  been  unable  to  find  any  record  of  it,  because,  presumably,  the  new 
direction  in  which  he  was  then  turning  his  faculties  required  a  certain 
time  of  preparation. 

This  is  what  happened:  Tory,  whose  activity  was  very  great,  did  not 
confine  himself  to  his  professorship,^  but  set  about  learning  drawing 
(probably  under  the  instruction  of  Jean  Perreal,  of  whom  1  shall  have 
occasion  to  speak  again),  and  also  engraving,  for  which  he  had  a  special 
bent.  This  apprenticeship,  with  the  duties  of  his  professor's  chair, — for 
Tory  drove  art  and  philosophy  side  by  side,  as  the  epitaph  just  quoted 
has  it  ('philosophiam  simulqueartem  exercuit  typographicam'),^ — en^ 
grossed  him  completely  for  three  or  four  years;  but  at  the  end  of  that 
time,  being  far  from  content  with  his  attempts  at  printing  and  engraving, 
or  too  enthusiastic  to  be  satisfied  with  a  partial  result,  he  determined  to 
study  classic  forms  and  outlines  in  Italy  itself,  of  which  country  he  had 
retained  such  agreeable  memories  that  he  speaks  of  it  constantly.  Con' 
sequently  he  abandoned  his  professorship  and  started  south  again.  It  was 
on  this  journey  that  he  visited  the  CoHseum  'more  than  a  thousand 
times,' that  he  saw  the  theatre  of  Orange,^  and  the  ancient  monuments 
of  Languedoc^  and  of  other  places  in  France  and  Italy,7  which  he  cites 
as  his  authorities  on  every  page  of  his  'Champ  fleury.' 

Tory  does  not  give  the  precise  date  of  this  artistic  journey;  but  it  is 
established  by  a  passage  in  his  book,  where  he  informs  us  that  he  saw 
the  'Epitaphs  of  Ancient  Rome'  printed  in  that  city.^  Now  this  book 
of  Epitaphs  can  be  no  other  than  the  collection  published  by  the  cele^ 
brated  printer  Mazochi,  under  the  tide:  'Epigrammata  sive  inscriptio/- 
nes  antiquae  urbis,'  folio,  dated  1516,  but  preceded  by  a  Hcense  from  the 
Pope,  of  1517.^  This  hint  of  Tory's  is  doubly  valuable  to  us,  for  it  not 

reddidit. —  Quisquis  ad  studium  animum  applicas  —  et  inde  quaris  immortalitatem, — pra- 
cipuo  cultoriprius  apprecare. — Amen.  i.  Fol.  49  recto. 

2.  According  to  the  Biographie  Universelle,  Tory  joined  the  fraternity  of  booksellers  in 
1512;  but  I  have  found  no  evidence  of  this,  and  it  seems  to  me  most  improbable. 

3 .  It  was  this  sentence,  no  doubt,  which  gave  birth  to  the  idea  that  Tory  was  a  bookseller 
at  the  same  time  that  he  was  a  professor;  but  it  is  evident  that  it  refers  to  Tory's  labours  as 
an  engraver,  and  not  to  bookselling  or  printing  properly  so  called,  as  Tory  did  not  become, 
successively,  bookseller  and  printer,  until  later. 

4.  Champ  fleury,  io\.  20  y^rso.  5.  Ibid.  [Tory  spells  it  *Aurenges.'] 
6.  Ibid.  fol.  1 9  verso.                                    7.  Ibid,  and  elsewhere. 

8.  'One  may  see  many  another  example  in  the  book  of  Epitaphs  of  Ancient  Rome,  which 
I  saw  printed  at  the  time  I  sojourned  in  said  Rome.'  Champ  fleury,  fol.  41  recto.  He  refers 
to  the  same  book  again  on  folios  48  recto  and  60  verso  :  *In  the  book  of  Epitaphs  of  Ancient 
Rome,  lately  printed  in  said  Rome,  where  I  was  then  living. ' 

9.  This  book  is  the  oldest  printed  collection  of  inscriptions.  Unfortunately,  instead  of  being 


8 


GEOFROY  TORY 


only  tells  us  the  date  of  our  artist's  second  journey  to  Italy,  but  reveals 
his  predilection  for  typography.  As  we  see,  he  was  already  studying  the 
printing  art  with  interest. 

On  his  return  to  Paris,  about  1 5 1 8,  Tory,  who  was  not  a  wealthy  man, 
was  obliged  to  think  about  turning  his  talents  to  account,  in  order  to 
earn  his  living.  His  principal  resource  seems  to  have  been  the  painting 
of  manuscripts,  otherwise  called  miniature;  but,  whether  because  he  did 
not  find  sufficient  work  of  that  sort,  or  because  he  considered  another 
branch  of  art  more  useful,  he  soon  gave  his  entire  attention  to  engraving 
on  wood,  in  which  he  speedily  acquired  considerable  celebrity.  About 
the  same  time,  Tory  also  joined  the  fraternity  of  booksellers,  following 
a  custom  then  quite  general  among  engravers, — a  custom  which  their 
predecessors,  the  miniaturists,  had  handed  down  to  them,  and  which  was 
continued  down  to  the  eighteenth  century.'  In  truth,  it  was  not  unnat^ 
ural  that  those  who  decorated  books  should  sell  them,  or,  if  you  prefer, 
that  those  who  sold  them  should  decorate  them.  It  was  one  way  of  earn^ 
ing  more  money.  Desiring  to  signalize  his  debut  in  the  career  of  a  bib 
liopole  in  a  noteworthy  way,  Tory  undertook  to  engrave  for  himself  a 
series  of  borders  'a  1' antique,'  which  he  intended  for  a  book  of  Hours, 
— a  sort  of  book  that  was  very  profitable  at  that  time,  because  of  the 
great  amount  of  work  which  it  required;  but  the  task  was  a  long  one, 
and  he  was  obliged  to  work  for  different  printers  in  the  mean  time.  One 
of  the  first  who  employed  him  was  Simon  de  Colines.  Colines,  who  be^ 
came  a  printer  in  1520,  as  a  result  of  his  marriage  to  Henri  Estienne's 
widow,  commissioned  Tory  to  design  marks,  floriated  letters,  and  borders 
for  the  books  that  he  published  in  his  own  name;  he  also  entrusted  him, 
I  think,  with  the  engraving  of  his  italic  type,  which  he  soon  began  to  use 
in  conjunction  with  the  roman  type  that  he  had  from  his  predecessor. 

But  Tory's  active  mind  could  not  be  content  with  a  single  occupation. 
He  was  a  patriot  first  of  all,  as  his  device  proves.  And  so,  far  from  allow/- 
ing  himself  to  be  engrossed  by  his  memories  of  the  literary  and  artistic 

copied  from  the  original  monuments,  which  still  existed  at  Rome  in  such  great  numbers,  these 
inscriptions  were  simply  reproduced  from  one  of  the  manuscript  collections  which  were  to  be 
found  in  the  libraries  and  some  of  which  were  themselves  very  old.  Mazochi's  book  had  no 
sooner  been  published  than  the  errors  which  had  found  their  way  into  it  began  to  be  pointed  out 
to  the  printer.  He  tried  to  correct  them  in  a  supplement  which  appeared  in  1523,  but  his  cor- 
rections did  not  extend  to  all  the  inscriptions,  which  might  still  have  been  restored  by  reference 
to  the  ancient  monuments.  A  contemporary  scholar,  whose  name  is  not  known,  undertook  to 
continue  these  corrections  on  his  printed  copy,  and  his  emendations  were  transferred  to  three 
other  copies.  These  annotations  impart  great  value  to  these  four  volumes  in  the  eyes  of  epi- 
graphists. 

I .  During  the  first  centuries  of  printing  in  France,  all  engravers  were  also  booksellers. 


BIOGRAPHY  9 

treasures  of  Italy,  he  began  to  study  with  ardour  the  monuments  of  his 
mother  tongue,  not  only  in  those  books  printed  in  French — very  few  as 
yet — which  he  had  at  hand  in  his  shop,  but  also,  and  especially,  in  divers 
fine  manuscripts  on  parchment  confided  to  him  by  'his  good  friend  and 
brother,  Rene  Masse,  of  Vendome,  chronicler  to  the  king,' whose  merits, 
entirely  forgotten  in  our  day,'  he  warmly  extols.^ 

Now,  while  studying  that  same  French  tongue,  so  decried  by  the 
scholars  of  his  time,  Tory  discovered  therein  beauties  which  required 
only  a  little  cultivation  to  make  of  it  the  finest  language  in  the  world. 
From  that  moment  our  Berrichon,  hitherto  a  partisan  of  the  classics, 
shook  off  entirely  the  yoke  of  Greek  and  Latin,  and  thought  only  of  the 
means  of  making  French  take  precedence  everywhere. 

'I  see,'  he  says,  'some  who  choose  to  write  in  Greek  and  in  Latin, 
and  yet  cannot  speak  French  well. ...  To  me  it  seems,  with  submission, 
that  it  would  better  beseem  a  Frenchman  to  write  in  French  than  in  an*- 
other  tongue,  as  well  for  the  profit  of  his  said  French  tongue,  as  to  adorn 
his  nation  and  enrich  his  native  language,  which  is  as  fair  and  fine  [belle 

et  bonne]  as  another  when  it  is  well  set  down  in  writing  When  I  see 

a  Frenchman  write  in  Greek  or  in  Latin,  I  seem  to  see  a  mason  clad  in 
philosopher's  or  king's  garb,  who  would  fain  recite  a  mask  on  the  stage 
of  La  Baroche^  or  in  the  confraternity  of  La  Trinite,  and  cannot  pro' 
nounce  well  enough,  as  having  too  thick  a  tongue;  cannot  bear  himself 
well,  nor  walk  fittingly,  insomuch  as  his  legs  and  feet  are  unwonted  to 
the  gait  of  philosopher  or  king.  Who  should  see  a  Frenchman  clad  in  the 
native  dress  of  a  Lombard,  which  is  most  often  long  and  scant,  of  blue 
linen  or  of  buckram,  methinks  that  Frenchman  would  scarce  jest  at  his 
ease  without  soon  slashing  it  and  taking  from  it  its  true  form  as  a  Lom^' 
bard  dress,  which  is  but  very  rarely  slashed,  for  Lombards  do  not  often 
work  havoc  with  their  belongings.  However,  I  leave  all  this  to  the  wise 
guidance  of  learned  men,  and  will  not  burden  myself  with  Greek  or 
Latin  save  to  cite  them  in  due  time  and  place,  or  to  talk  with  such  as 
cannot  speak  French.' 

Tory  had  found  his  vocation  at  last.  He  resolved  to  establish  the  supe^ 
riority  of  his  mother  tongue  in  a  special  book,  illustrated  by  engravings 
by  his  own  hand,  and  intended  particularly  for  printers  and  booksellers, 
who  were  in  a  position  to  distribute  it  so  rapidly  with  the  aid  of  their 
connections. 

1 .  He  has  an  article  in  the  Biographic  Universelle,  however. 

2.  Champ  fleury,{o\.  ifXtclo.  ^.  We  say  Basoche  to-diy. 
4.  Champ  Jleury,  fol.  i  z  recto  and  verso. 


lO 


GEOFROy  TORY 


But  while  he  was  engaged  in  his  studies,  a  terrible  catastrophe  fell 
upon  him  without  warning,  and  caused  him  to  forget  his  new  projects 
for  some  time.  His  daughter  Agnes,  of  whom  he  had  conceived  the  most 
brilliant  hopes,  was  taken  from  him  on  August  25,  1522,  at  the  age  of 
nine  years  eleven  months  and  thirty  days,  that  is  to  say,  ten  years  less  one 
day.  Entirely  absorbed  by  his  grief,  Tory  wrote  a  short  Latin  poem  upon 
the  sad  event.  This  poem,  dedicated,  like  most  of  his  other  books,  to 
Philibert  Babou,  was  not  published  until  February  15, 1523  (1524,  new 
style).  In  this  little  work,  consisting  of  two  quarto  sheets,  are  contained 
some  most  interesting  details  of  Tory's  life.  We  learn  here,  for  example, 
that  he  had  grounded  his  daughter  Agnes,  young  as  she  was,  in  Latin  and 
the  fine  arts. 

'  Desiring  to  instruct  me  in  the  Ausonian  tongue,  and  also  to  render 
me  accomplished  in  the  polite  arts,  he,  like  a  most  affectionate  father, 
teaching  me  night  and  day,  himself  laid  the  foundations,  sweet  and 
ample,  for  my  life.'' 

Farther  on,  he  makes  his  daughter  speak  thus,  from  the  depths  of 
the  urn  in  which  she  is  supposed  to  repose:  — 

MONITOR 

Who  made  for  you  this  urn  set  with  brilliant  gems  ? 

AGNES 

Who?  My  father,  famed  in  this  art. 

MONITOR 

Your  father  is  certainly  an  excellent  potter. 

AGN  E  s 

He  practises  industriously  every  day  the  liberal  arts. 

MONITOR 

Does  he  also  write  melodies  and  poems? 

AGNES 

He  does.  He  also  blesses  with  sweet  words  this  lot  of  mine. 

MONITOR 

Yes,  the  skill  of  the  man  is  wonderful. 

AGNES 

Hardly  has  any  land  produced  so  famous  a  man.^ 

We  learn  from  this  that  Tory  was  not  only  a  scholar,  which  we  already 
knew,  but  an  artist  of  great  merit.  Who  knows  ?  it  may  be  that  we  had  in 
him  the  making  of  a  Benvenuto  Cellini.  What  more  was  necessary  that  he 

I .  For  the  Latin  text,  see  Appendix  X,b.  2.  Ibid.,  c. 


BIOGRAPHY 


II 


should  reveal  himself  as  such?  Very  little  —  perhaps  the  falling  in  with 
a  wealthy  Maecenas.  In  fact,  we  find  these  lines  in  another  piece  of  verse 
in  the  same  collection: — 

WAYFARER 

He  is  certainly  well  deserving  of  some  Maecenas. 

GENIUS 

Few  are  the  M^enases  who  live  in  the  French  world.  No  one  to'day 
either  encourages  the  liberal  arts  by  appropriate  gifts  or  undertakes  to 
encourage  them  in  any  way.  Uprighmess  and  fair  virtue  are  in  no  esteem. 
So  powerful  is  the  sway  of  unhappy  Avarice .  Treachery,  deceit,  and  vice 
are  in  the  ascendant.  Virtues  are  put  in  the  background,  and  every  form 
of  wretched  evil  creeps  abroad. 

WAYFARER 

What,  therefore,  does  he  who  is  trained  by  the  charming  Muses  ? 

GENIUS 

He  takes  pleasure  in  being  able  to  live  in  his  own  house. 

WAYFARER 

He  ought  to  go  with  hurried  step  to  the  courts  of  kings. 

GENIUS 

He  does  not  care  to,  because  he  has  a  free  heart.  Your  potentates  some^ 
times  take  pleasure  in  looking  at  songs,  but  what  then  ?  They  requite 
them  with  nods.  Golden  songs,  drawn  from  the  high  heavens,  they  should 
reward  with  jewels  and  with  pure  gold.  But,  frivolous  as  they  are,  they 
instead  foolishly  give  their  grand  gifts  to  fools,  spendthrifts,  and  rogues.^ 

Alas!  this  depiction  of  the  vices  of  society  is  not  peculiar  to  the  six' 
teenth  century.  The  world  is  very  old,  and  it  changes  little.  If  Tory  were 
living  in  our  day,  it  may  be  that  he  would  use  even  darker  colours;  for, 
after  all,  he  was  appreciated  in  his  own  time,  and  perhaps  he  would  die 
of  hunger  to-day.  As  we  see,  he  was  not  fond  of  cooling  his  heels  in  the 
antechambers  of  the  great,  and  lived  peacefully  in  his  own  house;  but 
honour  came  there  to  seek  him.  Unluckily  it  was  a  Httle  late,  as  will  ap^ 
pear  hereafter. 

At  the  end  of  the  poem  is  the  design  reproduced  on  the  next  page, 
wherein  we  see  for  the  first  time  the  famous  'Pot  Casse'  [broken  jar] 
which  Tory  adopted  thenceforth  as  the  mark  of  his  bookshop;  together 
with  the  device  'non  plus,'  which  he  used  thereafter  instead  of  the  word 
'civis.' 

I .  See  Appendix  X,  d. 


12 


GEOFROY  TORY 


Tory  subsequently  offered,  in  his  'Champ  fleury,'  a  very  confused 
explanation  of  his  Pot  Casse,  doing  his  utmost  to  connect  it  with  the 
ordinary  events  of  life;  but  everything  tends  to  prove  that  it  owes  its 
origin  to  the  death  of  Agnes.  This  shattered  antique  vessel  represents 
Tory's  daughter,  whose  career  was  shattered  by  destiny  at  the  age  of 
ten.  The  book  secured  by  padlocks 
suggests  Agnes's  literary  studies; 
the  little  winged  figure  among  the 
clouds  is  her  soul  flying  up  to  heav^ 
en.  The  device  'non  plus'  suggests 
the  desperate  grief  of  Tory,  who 
seems  to  say : '  I  no  longer  [non  plus] 
care  for  anything';  or,  more  lacon^ 
ically:  'There  is  nothing  more  for 
me';  after  the  example  of  Valen^ 
tine  of  Milan  when  he  found  him^ 
self  in  a  similar  situation.' 

Luckily,  time,  which  deadens 
all  sorrows,  even  those  which  seem 
Ukely  to  endure  for  ever,  assuaged 
Tory's  grief.  Before  his  funeral  po^ 
em  saw  the  light,  he  had  returned 
to  his  beloved  studies,  and  they  had 
restored  tranquillity  to  his  mind. 
This  is  proved  by  the  following 
passage  from  his '  Champ  fleury,'  in  which  he  tells  us  how,  on  January  6, 
1523  (or  1524,  according  to  our  method  of  computing  time),  that  is  to 
say,  eighteen  months  after  he  lost  his  daughter,  the  idea  of  that  curious 
book  came  to  his  mind.  We  are  glad  to  recognize  once  more  therein  the 
patriotic  Berrichon  who  had  taken  for  his  device  the  word  'civis.' 

'  In  the  morning  of  the  day  of  the  feast  of  Kings,'  ^  he  says,  • . . .  which 
was  reckoned  m.  d.  xxiii,  the  fancy  came  to  me  to  muse  in  my  bed,  and 
to  move  the  wheel  of  my  memory,  thinking  on  a  thousand  petty  con/ 
ceits,  both  serious  and  merry,  whereamong  I  bethought  me  of  a  letter 
of  ancient  form,  which  I  not  long  since  made  for  the  house  of  my  lord 
the  treasurer  of  the  wars,  Maistre  Jehan  Groslier,  counsellor  and  secre/ 
tary  to  the  king  our  sire,  lover  of  goodly  letters  and  of  all  learned  per/ 
sons,  of  whom  also  he  is  greatly  beloved  and  esteemed,  as  well  on  this 

I.  See  Part  2,  §  i,  no.  9.  2.  [Twelfth-day,  or  Epiphany.] 


BIOGRAPHY  13 

side  as  the  other  of  the  mountains.  And  while  thinking  of  that  said  an/ 
tique  letter  there  came  of  a  sudden  to  my  memory  a  pithy  sentence  of 
the  first  book  and  eighth  chapter  of  Cicero's  "Offices,"  where  it  is  written: 
"Non  nobis  solum  nati  sumus,  ortusque  nostri  partem  patria  vendicat, 
partem  amici." '  Which  is  to  say,  in  substance,  that  we  are  not  born  into 
this  world  for  ourselves  alone,  but  to  do  service  and  pleasure  to  our  friends 
and  our  country.'^ 

Such  was  the  origin  of'  Champ  fleury.'  Here  follows  the  composition 
of  that  work,  as  the  author  himself  gives  it  to  us,  in  the  form  of  a  table 
of  contents,  at  the  beginning :  ^  — 

'This  whole  work  is  divided  into  three  books. 

•In  the  first  book  is  contained  the  exhortation  to  establish  and  ordain 
the  French  language  by  fixed  rule,  and  to  speak  elegantly,  in  good  and 
soundest  French. 

'In  the  second  is  treated  the  invention  of  antique  letters,  and  the  pro/ 
portionate  coincidence  thereof  with  the  natural  body  and  face  of  the 
perfect  man.  With  several  happy  inventions  and  reflections  upon  the  said 
antique  letters. 

'In  the  third  and  last  book  all  the  said  antique  letters,  in  their  alpha/ 
betical  order,  are  drawn  and  proportioned  in  height  and  width  according 
to  their  proper  formation  and  required  articulation,  both  Latin  and 
French,  as  well  in  the  ancient  as  in  the  modern  fashion. 

'In  two  sheets  at  the  end  are  added  thirteen  different  sorts  of  letters, 
to/ wit:  Hebrew,  Greek,  Latin,  French, — and  these  latter  in  four  sorts, 
which  are:  "cadeaulx,"  "forme,"  "bastarde,"  and  "torneure."  Then  fol/ 
low  the  Persian,  Arabic,  African,  Turkish,  and  Tartar  letters,  which  have, 
all  five,  one  and  the  same  type  of  alphabet.  After  these  are  the  Chaldaic, 
the  "gofFes,"  which  are  otherwise  called  "imperiales  et  buUatiques,"  the 
"phantastiques"  letters,  the  Utopian  letters,  which  one  may  call  "volun/ 
taires,"  and,  lastly,  the  floriated  letters."*  With  instructions  for  making 

1 .  Cicero  says  that  he  borrowed  this  maxim  from  Plato  :  Ut  pr cedar e  scriptum  est  Platone. 

2.  Champ  fleury,  fol.  i  recto.  3.  Ibid.,  verso  of  title-page. 

4.  [As  Champ  fleury  is  not  among  the  works  cited  by  French  lexicographers  to  illustrate  the 
historical  development  of  the  language,  we  search  in  vain  for  adequate  explanation  of  some  of 
the  terms  used  by  Tory  therein.  Littre  defines  as  follows  such  of  these  varieties  of  letters  as  he 
includes  in  his  dictionary :  Cadeaux:  Grandes  lettres  placees  en  tetes  des  actes  ou  des  chapitres 
dans  les  manuscrits  en  ecriture  cursive. — Forme  :  Lettre  de  la  belle  ecriture,  des  belles  editions, 
par  opposition  a  la  lettre  cursive. — BaTarde  :  ^.criture  ordinairement  pench'ee,  a  jamb  ages 
pleins,  a  liaisons  arrondies par  le  haut,  et  a  tetes  sans  houcles. — Goffes:  Norn  donn'e  a  une  sorte 
de  majuscules  gothiques  dans  le  commencement  du  XVI siecle.  See,  also,  for  some  of  these  alpha- 
bets, Pantographia;  Containing  Accurate  Copies  of  all  the  known  Alphabets  in  the  world.  By 
Edmund  Fry.  London,  1799.] 


GEOFROY  TORY 


ciphers  of  letters  for  golden  rings,  for  tapestries,  stained'-glass  windows, 
paintings,  and  other  things,  as  may  seem  best.' 

I  will  say  nothing  here  of  the  first  book,  the  excellence  of  which  has 
recently  been  pointed  out  by  M.  Genin,'  who  is  much  better  versed  in 
the  subject  than  I,  and  who  has  at  the  same  stroke  exculpated  the  French 
from  the  charge  that  has  been  brought  against  them  of  having  allowed 
themselves  to  be  anticipated  by  foreigners  in  the  careful  study  of  their 
language.  I  will  simply  call  attention  to  the  fact  that  Tory  wrote  shortly 
before  Rabelais,  who  did  not  hesitate  to  borrow  from  him  his  criticism 
of  the  'skimmers  of  Latin,""  who  were  then  changing  the  French  Ian/ 
guage  on  the  pretext  of  perfecting  it.  The  harangue  of  the  Limousin 
orator,  which  is  found  in  the  sixth  chapter  of  the  second  book  of '  Panta^ 
gruel,'  is  copied  verbatim  from  Tory's  epistle  to  the  reader.^  Rabelais  has 
simply  added  to  it  some  obscene  reflections  which  did  not  enter  our  au-' 
thor's  mind.  Tory  ends  with  a  pathetic  appeal  to  those  who  are  interested 
in  the  mother  tongue,  whose  excellence  he  is  never  tired  of  extolling. 
*0  ye  devoted  lovers  of  goodly  letters!'  he  cries,  *God  grant  that  some 
noble  heart  may  give  itself  to  the  task  of  establishing  and  ordering  our 
French  tongue  according  to  rule  1  By  that  means  would  many  thousands 
of  men  set  themselves  to  using  often  goodly  words.  If  it  is  not  established 
and  ordered,  we  shall  find  that  the  French  tongue  will  be  in  great  part 
changed  and  ruined  every  fifty  years.'  This  patriotic  prayer  was  soon 
granted.  As  we  know,  the  sixteenth  century  did  not  lack  great  geniuses, 

I.  See  his  introduction  to  Palsgrave's  Lesclaircissement  de  la  langue  francoise.  See  also 
Appendix  II.  2.  \_Escumeurs  de  latin.  Rabelais' s  word  is  fjrsrr^^r,  to  flay.] 

3 .  One  of  the  annotators  of  Rabelais'  ( I  do  not  now  remember  which  one,  but  his  name  is  of 
little  consequence*)  maintains  that  Tory  intended  to  criticize  in  that  episde  the  author  of  Pan- 
tagruel,  who  had  introduced  him  in  his  romance  under  the  name  of  Raminagrobis.  There  is 
but  one  little  flaw  in  this  story,  namely,  that  the  dates  are  against  it:  Champ Jleury  antedates 
Pantagruel,  by  several  years.  This  fact,  to  be  sure,  does  not  prove  that  Rabelais  did  not  make 
Tory  a  character  in  his  work;  but  what  foundation  is  there,  I  ask,  for  attributing  the  character 
of  Raminagrobis  to  Tory Simply  the  assertion  of  one  of  those  seventeenth-century  scribblers 
of  marginal  notes  who  lived  on  the  great  authors  of  the  sixteenth  as  rats  live  on  the  most  valuable 
manuscripts  —  by  nibbling  at  them.  What  possible  connection  is  there  between  Raminagrobis, 
canon  and  poet,  whom  Rabelais  represents  as  dying  about  1 546,  and  Tory,  layman  and  prose 
writer,  who  died  twelve  years  earlier?  Does  it  not  remind  one  of  the  famous  key  to  Astree, 
of  which  I  had  occasion  to  prove,  in  my  monograph  upon  thed'Urfes,  that  not  a  word  was 
true ?  Almost  the  same  course  has  been  pursued  with  reference  to  the  Satire  Menipp'ee,  which 
has  in  our  own  day  been  ascribed  to  persons  who  would  be  greatly  surprised,  and  far  from  proud 
of  their  alleged  work.  See  what  I  had  to  say  on  this  subject  in  the  Revue  de  la  Province  et  de 
Paris  of  September  30,  1 842.  4.  Champ  Jleury,  '  Aux  Lecteurs.' 


*  It  was  Pasquier,  I  think,  who  first  gave  currency  to  this  fable;  and  his  opinion  is  the  less  adnnissible  because  he 
did  not  even  know  Tory's  name,  but  calls  him  'Georges  Tore.'  See  Baillet,  jfugemems  des  Savants,vol.  i,andGenin's 
introduction  to  Palsgrave,  p.  10,  note  4. 


BIOGRAPHY  15 

who  set  the  French  language  in  order  and  brought  it  to  a  great  degree 
of  perfection.  Indeed,  some  most  expressive  words,  the  disuse  of  which 
Tory  deplored,'  reappeared.  For  instance,  'affaisse'  and  'tourbillonner/ 
which  in  his  time  had  been  replaced  by  periphrases,  returned  into  use; 
many  others  deserve  the  same  honour  and  perhaps  will  receive  it  some 
day. 

The  second  book  of 'Champ  fleury'  is,  I  apprehend,  only  a  paradox; 
but  that  paradox  is  maintained  by  arguments  so  ingenious,  that  one 
lacks  courage  to  condemn  it.  Tory  holds  that  the  shapes  of  all  the 
roman  capital  letters  are  derived  from  the  different  parts  of  the  human 
body,  which  he  looks  upon  as  the  type  of  the  beautiful;  and  he  makes 
a  most  admirable  use  of  wood  engraving  to  explain  his  idea.  Moreover, 
if  Tory  was  mistaken,  we  must  acknowledge  that  he  did  not  fall  into 
the  error  inconsiderately.  Indeed,  I  believe  that  he  had  for  confederate 
his  friend  Perreal,to  whom  we  may  attribute  the  greater  number  of  the 
designs  on  wood  in  the  second  book,  judging  from  those  in  the  third, 
which  are  directly  attributed  to  him  by  Tory,  as  we  shall  see  hereafter. 
However  that  may  be,  Tory  seems  to  have  studied  his  subject  for  a  long 
time,  not  only  on  ancient  monuments,  but  on  modern  ones  as  well,  and 
in  the  works  of  contemporary  authors  who  had  turned  their  attention 
to  the  shapes  of  letters.  His  judgement  of  these  latter  is  as  follows: — 

*Frere  Lucas  Paciol,  of  Bourg  Saint  Sepulchre,  of  the  order  of  Freres 
Mineurs,  and  a  theologian,  who  has  written  in  popular  Italian  a  book 
called  "Divina  proportione,"^  and  who  has  essayed  to  represent  the  said 
antique  letters,  does  not  give  a  true  account  of  them  nor  explain  them; 
and  I  am  not  surprised  thereat,  for  I  have  heard  from  certain  Italians  that 
he  stole  his  said  letters  and  took  them  from  the  late  Messere  Leonard 
Vince  [Leonardo  da  Vinci],  who  has  of  late  died  at  Amboise,  and  was  a 
most  excellent  philosopher  and  admirable  painter,  and  as  it  were  an-* 
other  Archimedes.  This  said  Frere  Lucas  has  caused  his  antique  letters 
to  be  printed  as  his  own.  In  sooth  they  may  well  be  his,  for  he  has  not 
drawn  them  in  their  due  proportions,  as  I  shall  show  when  I  speak  of 
said  letters.  Nor  does  Sigismunde  Fante,  a  noble  of  Ferrara,  who  teaches 
how  to  write  many  kinds  of  letters,  speak  truly  thereof.^  Nor  does  Mes/ 

1.  Champ  fleury,  'Aux  Lecteurs.' 

2.  Folio,  Venice,  1 509;  with  62  plates  engraved  on  wood. 

3.  In  his  bookentided  Thesauro  de'  scrittori  (  Champ  fleury,  fol.  35  recto).  I  have  not  seen 
this  book,  but  I  have  seen  his  Theorica  et  pratica  .  .  .  de  modo  scribendi  fabricandique  omnes 
litter  arum  species  (Venice,  Dec.  i,  1 524;  quarto).  This  work  is  divided  into  four  books  and 
contains  engravings  not  unKke  those  in  Champ  fleury.  M.  Brunet  mentions  Fante' s  Liber  ele- 


r6  GEOFROY  TORY 

sere  Ludovico  Vincentino.'  I  know  not  whether  Albert  Diirer  writes 
justly  thereof,^  but  none  the  less  he  goes  astray  in  the  due  proportion  of 
the  figures  of  many  letters,  in  his  book  on  "  Perspective."  ^ ...  I  see  no 
man  who  makes  them  or  understands  them  better  than  Maistre  Simon 
Hayeneufv^e,  otherwise  called  Maistre  Simon  du  Mans.  He  makes  them 
so  well  and  in  proper  proportions,  that  he  satisfies  the  eye  as  well  and 
better  than  any  Italian  master  on  this  side  or  the  other  of  the  mountains. 
He  is  most  excellent  in  the  restoration  of  ancient  architecture,  as  one 
may  see  in  a  thousand  excellent  designs  and  portraits  that  he  has  made 
in  the  noble  city  of  Mans  and  in  many  a  foreign  city.  He  is  worthy  to 
be  held  in  honoured  memory,  as  well  for  his  upright  life  as  for  his  noble 
learning.  And  to  this  end,  let  us  not  fail  to  consecrate  and  dedicate  his 
name  to  immortality,  naming  him  a  second  Vitruvius,  a  holy  man  and 
good  Christian.  I  write  this  with  good  will  because  of  the  virtues  and 
great  praise  "  which  I  have  heard  said  of  him  "  by  many  great  and  humble 
good  men  and  true  lovers  of  all  goodly  and  honest  things.' 

The  eulogistic  tone  in  which  Tory  speaks  here  and  elsewhere  5  of 
Simon  Haieneuve  leads  M.  Renouvier  to  think  ^  that  our  artist  may  have 
learned  the  art  of  drawing  letters  from  the  Mans  architect;  but  it  is 
a  mistaken  supposition;  the  phrase  in  quotation  marks  proves  that  they 
had  never  met.  Moreover  Tory,  a  little  further  on,  claims  most  reason^ 
ably  the  honour  of  having  been  his  own  master  in  this  matter:  'I  know 
no  Greek,  Latin  nor  French  author  who  gives  the  explanation  of  such 
letters  as  I  have  described,  wherefore  I  may  hold  it  for  my  own,  saying 
that  I  have  excogitated  and  found  it  rather  by  divine  inspiration  than  by 
anything  written  or  heard.  If  there  be  any  one  who  has  seen  it  written, 
let  him  say  so,  and  he  will  give  me  pleasure.' 

We  see  that  Tory  does  not  beat  about  the  bush  concerning  his  theory, 

mentor  urn  Utter  arum  (Venice,  1514;  quarto),  which  probably  was  the  foundation  of  the 
Thesauro  de^  scrittori,  published  by  Ugo  da  Carpi. 

1 .  I  do  not  know  the  title  of  his  work,  but  I  think  that  the  reference  is  to  the  book  thus  de- 
scribed in  the  Libri  catalogue  of  1 8  59:  Z<7  Operinadaimparare  discriver  e  litter  a  cancellarescha. 
Roma,  per  invenzione  di  Lodovico  Vicentino,m.  quarto  (  i  523  ).  Asfor  the  variant  spelling  of  the 
author's  name,  which  Tory  calls  Vincentino,  it  is  explainable;  for  we  find  in  the  Libri  catalogue 
of  1857:  Ragola  da  imparare  scrivere  varii  caratteri  di  lettere,  di  L.  Vincentino.  (Venetia, 
Zoppino,  I  5  3  3 ,  in  quarto. )  I  have  also  seen  mentioned  a  work  of  the  same  sort  entitled :  Regula 
occulte  scribendt  sen  componendi  cipharam  itaquenemo  litteras  interpretari possit  communes  omni- 
bus, inventa  et  composita  a  domino  "Jacobo  Silvestro  sive  Florentino.  (Rome,  i  526,  quarto.) 

2.  The  doubt  expressed  by  Tory  is  due  to  the  fact  that  he  was  unable  to  read  the  text  of 
Diirer' s  work,  which  was  published  in  German  in  1525.  The  Latin  translation  was  not  pub- 
lished until  1532,  and  the  French  still  later.  3.  Champ fieury,  fol.  1 3  recto. 

4.  Ibid.  fol.  14  recto.  5.  Ibid.  fol.  41  verso. 

6.  Des  Types,  etc.,  2d  part,  i6th  century,  p.  166.       7.  Champ fleury,  fol.  14  recto. 


BIOGRAPHY  17 

which,  although  it  was  different  from  those  of  his  predecessors,  was  not 
on  that  account  better  than  theirs.'  However,  let  his  opinion  concerning 
the  original  design  of  the  roman  letters  be  what  it  may,  it  is,  in  my  judge/ 
ment,  simply  a  sort  of  preface  which  we  may  pass  over  without  incon/ 
venience.  The  real  substance  of  his  work  is  in  the  third  book.  But  he 
does  not  leave  the  second  without  returning  once  more  to  the  charge  in 
favour  of  his  mother  tongue. 

'I  know,'  he  says,  'that  there  are  many  goodly  minds  who  would 
willingly  write  many  excellent  things  if  they  thought  they  could  write 
them  well  in  Greek  or  Latin;  and  yet  they  abstain  for  fear  of  making 
solecisms  or  some  other  fault  that  they  dread;  or  they  choose  not  to  write 
in  French,  thinking  the  French  tongue  not  good  nor  elegant  enough. 
With  all  respect  to  them,  it  is  one  of  the  most  beauteous  and  graceful 
of  all  human  tongues,  as  I  have  shown  in  the  first  book  by  the  authority 
of  noble  and  ancient  authors,  poets  and  orators,  as  well  Latin  as  Greek.'  ^ 

To  be  accurate,  I  will  say  that  this  idea  of  the  'preexcellence  of  the 
French  tongue,'  which,  a  little  later,  was  the  subject  of  another  special 
work  on  the  part  of  another  famous  printer,  the  second  Henri  Estienne, 
was  neither  new  nor  original  with  Tory.  No  less  than  three  hundred  years 
before,  it  had  been  set  forth  in  honest  French  by  an  author  who  cannot 
be  taxed  with  patriotic  illusions,  for  he  was  an  Italian,  This  is  what 
Brunetto  Latini  wrote  at  the  beginning  of  a  sort  of  encyclopaedia  which 
he  prepared  in  the  thirteenth  century,  under  the  name  of  'Tresor':  — 

*  Et  se  aucuns  demandoit  por  quoi  cist  livres  est  escriz  en  romans  se'' 
lone  le  langage  des  Francois,  puisque  nos  somes  Ytaliens,  je  diroie  que 
ce  est  por  deux  raisons:  lune,  car  nos  somes  en  France,  et  lautre,  porce 
que  la  parleure  est  plus  delitable  et  plus  commune  a  toutes  gens.'^ 

As  I  have  said,  the  third  book  is  the  important  part  of  Tory's  work. 
Layiag  theory  aside,  he  there  gives  us  the  exact  design  of  the  letters  of 
the  alphabet  and  the  method  of  executing  them.  He  does  not  overlook, 
moreover,  this  essential  fact — that  the  designer  of  letters  and  the  printer 
ought  before  all  else  to  be  grammarians  in  the  ancient  meaning  of  the 

1 .  It  was  the  fashion,  in  that  epoch  of  renascence,  to  treat  everything  allegorically.  Tory 
was  not  the  only  one  who  propounded  a  theory  to  explain  the  shapes  of  letters. 

2.  Champ  fleury,  fol.  24  recto. 

3.  [And  if  any  wonder  why  this  book  is  written  in  Romance,  according  to  the  language  of 
the  French,  when  we  are  Italians,  I  will  say  that  it  is  for  two  reasons  :  one,  for  that  we  are  in 
France,  and  the  other,  for  that  the  speaking  of  it  is  more  delectable  and  more  common  to  all 
people.]  Prologue  to  the  Tresor,  published  by  M.  Pierre  Chabaille  (quarto  ;  Imprimerie  Im- 
periale,  1 863  ;  p.  3) .  The  second  reason  probably  explains  why  Marco  Polo  printed  the  nar- 
rative of  his  voyage  in  French. 


i8 


GEOFROY  TORY 


word';  and  at  the  same  time  that  he  gives  us  the  shape  of  a  letter,  he 
instructs  us  as  to  its  value  and  pronunciation.  It  is  at  this  point  that  Tory's 
book  becomes  especially  interesting  to  us:  he  passes  in  review  the  pro' 
nunciation  in  vogue  in  each  of  the  French  provinces,  or  nations,  as  they 
were  called  then.  One  after  another  they  appear  before  us,  with  their 
special  idioms,  which  have  become  mere  myths  to-day,  —  Flemings, 
Burgundians,  Lyonnaises,  Foresiens,  Manseaux,  Berrichons,  Normans, 
Bretons,  Lorrainers,  Gascons,  Picards, and  even  Italians, Germans,  English, 
Scotch,  etc.  His  observations  do  not  stop  at  the  somewhat  mixed  idioms 
of  the  men,^  but  extend  to  the  more  individual  language  of  the  women. 
For  instance,  he  informs  us  that  'the  ladies  of  Lyon  often  gracefully 
pronounce  A  for  E,  as  when  they  say, "  Choma  vous  choma  chat  effeta,"  ^ 
and  a  thousand  other  like  expressions';  whereas,  on  the  contrary,  'the 
ladies  of  Paris  very  often  pronounce  E  instead  of  A,  as  when  they  say: 
"Mon  mery  est  a  la  porte  de  Peris,  ou  il  se  faict  peier";  instead  of  saying, 
"Mon  mary  est  a  la  porte  de  Paris,  ou  il  se  faict  paier.'"'* 

It  will  be  noticed  that  in  this  particular  the  'ladies  of  Paris'  succeeded 
in  perpetuating  their  pronunciation  in  part,  for  we  do  not  now  say '  paier.' 
They  had  equal  success  in  many  other  cases.  For  example,  it  seems  to 
be  due  to  them  that  the  final  S  of  the  plural  is  not  pronounced  except 
under  exceptional  circumstances  ^:  as,  for  instance,  when  it  is  followed 
by  a  word  beginning  with  a  vowel;  for,  speaking  of  the  cases  in  which 
that  letter  is  elided  in  Latin,  Tory  expresses  himself  thus:  'The  ladies  of 
Paris  for  the  most  part  observe  this  poetic  figure  of  speech,  dropping 
the  final  S  in  many  words,  as  when,  instead  of  saying:  "Nous  avons  disne 
en  ung  iardin,  &  y  avons  menge  des  prunes  blanches  et  noires,  des  amen^ 
des  doulces  &  ameres,  des  figues  molles,  des  pomes,  des  poires  &  des 
gruselles,"  they  say  and  pronounce:  "Nous  avon  disne  en  ung  iardin,  & 
y  avon  menge  des  prune  blanche  &  noire,  des  amende  doulce  &  amere, 
des  figue  molle,  des  pome,  des  poyre  &  des  gruselle." '  The  thing  that 
seems  especially  oflfensive  to  Tory  is  that  they  make  the  men  join  them 

1 .  [That  is  to  say,  philologists.] 

2.  [That  is  to  say,  the  lines  between  the  different  dialects  are  less  clearly  marked  in  the  case 
of  the  men.] 

3.  Although  myself  a  native  of  Lyon,  I  confess  that  I  do  not  understand  the  meaning  of  these 
words,  of  which  Tory,  by  a  regrettable  exception,  gives  no  translation.  A  friend  of  mine  in  that 
city,  M.  Ant.  Pericaud,  thinks  that  the  meaning  is :  '  Chomez-vous  ?  Chomez  cette  fete.' 

4.  Champ  Jleury,  fol.  33  verso. 

5.  There  are  some  provinces  where  the  final  S  is  still  pronounced.  The  English  also  have  re- 
tained the  custom,  which  is  a  necessity  with  them  because  the  article  is  invariable,  so  that  the 
plural  cannot  otherwise  be  distinguished  from  the  singular. 


BIOGRAPHY  19 

in  this  faulty  pronunciation.  'This  fault,'  he  says,  'would  be  pardonable 
in  them,  were  it  not  that  it  passes  from  woman  to  man,  and  that  there 
is  entire  absence  of  perfect  pronunciation  in  speaking.' ' 

Moreover,  if  we  are  to  credit  Tory,  the  provincials  have  also,  in  cer^ 
tain  cases,  succeeded  in  establishing  their  pronunciation,  as  we  may  con^ 
elude  from  the  following  passage,  relative  to  the  letter  T:  'The  Italians 
pronounce  it  so  full  and  resonant  that  it  seems  that  they  add  an  E  thereto, 
as  when,  for  and  instead  of  saying:  "Caput  vertigine  laborat,"  they  pro^ 
nounce:  "Capute  vertigine  laborate."  I  have  seen  and  heard  it  pronounced 
so  in  Rome  at  the  schools  called  La  Sapienza,  and  in  many  another  noble 
place  in  Italy.  Which  pronunciation  is  no  wise  held  or  used  by  the 
Lionnois,  who  drop  the  said  T,  and  do  not  pronounce  it  any  wise  at  the 
end  of  the  third  person  plural  of  verbs  active  and  neuter,  saying  "  Ama^ 
verun"and  "Araverun,"  for  "Amaverunt"and  "Araverunt."  InHkeman^ 
ner  some  Picards  drop  this  T  at  the  end  of  some  words  in  French,  as  when 
they  would  say:  "Comant  cela,  comant?  monsieur,  c'est  une  jument," 
they  pronounce:  "Coman  chela,  coman?  monsieur,  chest  une  jumen.'"^ 
We  see  that  the  Picard  pronunciation  has  prevailed  in  this  instance,  for 
we  no  longer  pronounce  the  final  T  at  the  end  of  the  words  'comment,' 
•jument,'  and  the  like. 

Tory  did  not  content  himself  with  setting  forth  the  state  of  things 
existent  in  his  day:  he  suggested  improvements,  almost  aU  of  which 
have  been  sanctioned  by  usage.  For  instance,  at  the  beginning  of  the  six^ 
teenth  century,  the  pronunciation  was  very  difficult  to  grasp  for  lack  of 
accents;  he  proposed  to  supply  them.  'In  our  French  language,'  he 
says,  'we  have  no  symbol  of  accent  in  writing,  and  it  is  on  account  of 
this  lack  that  our  language  is  not  yet  established  nor  submitted  to  fixed 
rules,  like  the  Hebrew,  Greek  and  Latin.  I  would  like  that  it  should  be, 
as  might  weU  be  done.  ...  In  French,'  he  says  farther  on,  'as  I  have 
said,  we  do  not  write  the  accent  over  O  vocative,  but  pronounce  it  full, 
as  when  we  say: 

'O  pain  du  ciel  angelique, 
Tu  es  nostre  salut  antique. 

'In  this  lack  of  accent  we  have  an  imperfection,  which  we  ought  to 
remedy  by  purifying  and  subjecting  to  fixed  rule  and  art  our  language, 

1.  Champ fleury,  fol.  57  recto. 

2.  Ibid.,  fol.  58  verso.  Again,  as  in  note  5  on  page  18,  I  will  call  attention  to  the  fact  that 
the  English,  who  are  much  more  French  in  this  respect  than  is  generally  supposed,  have  re- 
tained the  old  pronunciation.  They  sound  the  final  T  in  words  borrowed  from  us. 


20 


GEOFROY  TORY 


which  is  the  most  graceful  language  known.' '  Elsewhere  he  suggests 
replacing  elided  letters  by  an  apostrophe,  which  had  not  then  been  done 
in  French.  'I  say  and  allege  these  things  in  this  place  to  the  end  that  if 
it  should  happen  that  one  had  to  write  in  antique  letters  verses  where 
the  S  must  disappear,  one  may  write  them  honestly  and  purposely  with' 
out  using  the  said  letter,  . .  .  and  place  a  hooked  point  over  the  place 
where  it  should  be.'  ^  In  another  place  he  emphasizes  the  necessity  of 
the  cedilla,  which  we  find  in  French  manuscripts  from  the  thirteenth 
century,  but  which  typography  had  not  as  yet  adopted.  '  C  before  O,' 
he  says,  'in  French  pronunciation  and  language,  is  sometimes  hard,  as 
in  saying  "coquin,"  "coq,"  "coquillard";  sometimes  it  is  soft,  as  in  say 
ing  "garcon,"  "macon,"  "francois,"  and  other  like  words.' ^ 

Tory  could  hardly  overlook  the  matter  of  punctuation,  that  most  es^ 
sential,  and  even  in  our  day  so  sadly  neglected,  branch  of  orthography; 
but  as  he  had  only  'antique '  letters  to  deal  with,  he  presented  only  three 
sorts  of  punctuation  marks,  without  going  into  details  as  to  their  use, 
which,  in  truth,  if  we  may  judge  by  his  own  book,  was  not  as  yet  fiilly 
settled.  The  comma,  for  instance,  which  has  so  much  to  do  with  the 
clearness  of  the  sentence,  is  frequently  there  inserted  in  a  far  from  ra^ 
tional  way. 

I  have  said  above  that  Tory  had  adopted  about  1523,  for  the  mark  of 
his  bookshop,  the  Pot  Casse  represented  in  the  engrave 
ing  placed  at  the  end  of  his  poem  on  his  daughter's  death. 
To  make  it  more  appropriate  for  that  purpose,  he  sub' 
jected  it  to  various  modifications.  At  first  we  find  it  alone, 
as  in  the  accompanying  cut,  on  the  cover,'^  or  on  the  back,' 
of  a  number  of  octavo  books  bound  at  his  establishment. 
Other  bindings,  in  quarto,  exhibit  the  broken  jar  with 
the  drill  {toret).^ 

Afterward,  Tory  placed  the  jar  on  a  closed  book,  and  still  later  he 
modified  the  design  by  the  introduction  of  other  additions.^ 

I.  Champ Jleury,  fol.  52  recto.  2.  Ibid.  fol.  56  verso. 

3.  Ibid.  fol.  37  verso. 

4.  I  have  seen  this  binding  on  an  octavo  copy  of  the  ^diloquium  of  1530,  now  in  the  Bib- 
liothequeNationale  and  on  the  Sommaire  de  Chroniques  de  J.  B.  Egnasio,o(  15  29,  owned  by 
M.  Didot.  [The  famous  collection  of  M.  Didot  has  since  been  dispersed.] 

5.  Book  of  Hours  of  i  556,  owned  by  M.  Niel.  This  volume  was  printed  by  the  Kervers, 
who  had  bought  Tory's  old  plant. 

6.  I  have  seen  it  on  the  Hours  of  i  53 1 ,  and  the  Diodorus  of  1535,  which  two  volumes  also 
are  [ I  865]  owned  by  M.  Didot. 

7.  [See  nos.  i  and  2,  on  p.  45,  infra.] 


BIOGRAPHY 


21 


MENTI  BONAE 
DEVS  OCCVRRIT. 


Finally,  we  have  Geofroy  Tory's  device,  or  mark,  definitively  consti' 
tuted  in  his  'Champ  fleury,'  thus: '  — 

'Behold,'  he  says,  'my  declared  device  and 
mark,  drawn  as  I  have  cogitated  and  conceived 
it,  imparting  moral  meaning  thereto,  to  give 
friendly  admonition  to  the  printers  and  book^ 
sellers  beyond  the  mountains^  to  practise  and 
employ  themselves  in  goodly  inventions  and  de^ 
lectable  execution,  to  show  that  their  wits  have 
not  been  always  useless,  but  eager  to  serve  the 
public  weal  by  labouring  to  that  end  and  living 
uprightly.' 

Then  follows  his  explanation  of  this  mark,^ 
— an  explanation  which  does  not  invalidate  that 
suggested  above/  In  truth,  all  that  Tory  says 
here  in  general  terms  may  be  applied  to  his 
daughter  Agnes. 

•In  the  first  place,  there  is  herein  an  ancient 
jar,  which  is  broken,  through  which  is  passed 
a  toret.  This  said  broken  jar  signifies  our  body,  which  is  an  earthen 
jar.  The  toret  signifies  Fate,  which  pierces  and  passes  through  weak  and 
strong.  Beneath  this  broken  jar  there  is  a  book  secured  by  three  chains 
and  padlocks,  which  signifies  that  after  our  body  is  broken  by  death,  its 
life  is  closed  by  the  three  fatal  goddesses.^  This  book  is  so  firmly  closed 
that  there  is  no  man  who  may  come  to  see  anything  therein,  except  he 
know  the  secret  of  the  padlocks,  and  above  all  of  the  round  padlock, 
which  is  locked  and  signed  by  letters.  Even  so,  after  the  book  of  our  life 
is  closed,  there  is  no  man  who  may  in  any  wdse  open  it,  except  it  be  he 
who  knows  the  secrets,  and  he  is  God,  who  alone  knows,  before  and  after 
our  death,  what  has  been,  what  is,  and  what  will  be  our  fate.  The  foliage 
and  flowers  in  the  said  jar  signify  the  virtues  which  our  body  may  have 
in  itself  during  its  life.  The  sun^rays  which  are  above  and  beside  the  toret 
and  the  jar  signify  the  inspiration  that  God  gives  us  by  impelling  us  to 


SIC,  VT.  VEL,  VT. 
NON  PLVS. 


1 .  Fol.  43  verso.  Inadvertently,  no  doubt,  this  mark  is  reversed  on  the  first  page  of  Champ 
fleury.  Tory  attached  little  importance  to  the  error,  for  the  same  engraving  often  appeared 
afterward.  It  is  not  signed  [with  the  double  cross]  ,  like  the  one  here  reproduced. 

2.  Here,  and  in  numberless  other  passages  in  his  books,  Tory  alludes  to  Italy,  of  which  he 
always  retained  a  grateful  memory. 

3.  Champ  fleury,  fol.  43  recto.  4.  [See  page  12,  supra.] 
5.  The  Renaissance,  at  this  time,  was  at  its  height. 


22 


GEOFROY  TORY 


virtue  and  worthy  acts.  Near  the  said  broken  jar  it  is  written:  "Non 
plvs,"  which  are  two  monosyllabic  words,  as  well  in  French  as  in  Latin, 
signifying  that  which  Pittacus  said  long  since  in  Greek :  MHAEN  Ar  AN/ 
"nihil  nimis."  Let  us  not  say,  let  us  not  do  aught  beyond  measure  or  be' 
yond  reason,  except  it  be  in  the  last  necessity:  "aduersus  qua  nec  Dij 
quide  pugnant."^  But  let  us  say  and  let  us  do"Sic.  vt.  vel.  vt."  That  is  to 
say,  as  we  ought,  or  as  little  wrongly  as  we  may.  If  we  seek  to  do  well, 
God  will  aid  us,  and  therefore  have  I  written  above:  "Menti  bonae  Deus 
occurrit,"  that  is  to  say,  God  goes  out  to  meet  the  desire  to  do  good,  and 
gives  it  aid.' 

I  believe  that  we  should  see  in  the  toret  an  'enseigne  parlante,'  allude 
ing  at  once  to  Tory's  name  and  to  his  various  professions.  The  way  in 
which  the  name  of  the  instrument  was  pronounced,  its  shape,  resemb' 
ling  that  of  a  T,  and,  lastly,  its  use  by  the  engravers,  were  doubtless  the 
considerations  that  led  Tory  to  adopt  it.  But  let  us  not  subtilize  too  far. 

Tory  was  not  content  with  giving  us  his  symbol  in  'Champ  fleury': 
he  engraved  on  the  first  page  of  that  book,  that  is  to  say,  in  the  place  of 
honour,  what  would  be  called  to-day  the  blazonry  of  his  artistic  acquire^ 
ments, — in  other  words,  a  collection  of  all  the  tools  that  he  used.  Unfor-' 
tunately,  he  did  not  feel  called  upon,  as  in  the  case  of  his  mark,  to  supply 
an  explanation,  deeming  the  matter  clear  enough;  whereas,  in  our  day 
it  has  become  rather  difficult,  because  of  the  changes  that  have  taken 
place  in  the  customs  of  artists,  to  state  the  exact  use  of  some  of  the  tools. 
The  order  in  which  they  are  arranged,  however,  may  assist  us,  to  a  cer^ 
tain  extent,  in  identifying  them.  An  exact  reproduction  of  this  engrav 
ing,  the  initial  letter  of  the  first  page  of  the  text  of 'Champ  fleury,'  is 
given  at  the  beginning  of  this  section.^ 

The  first  series  of  tools,  suspended  in  the  first  arabesque,  embraces  a 
pair  of  compasses,  a  rule,  and  a  square:  these  are  the  fundamental  instru'' 
ments  of  art  and  of  geometry.  In  the  second  arabesque,  if  I  am  not  mis' 
taken,  we  find  an  'echoppe'  and  a  burin,  engravers'  tools;  in  the  third, 
a  writing-case  (or  'galimart'),  a  pencU,  and  a  knife,  above  a  book;  these 
are  the  tools  of  the  writer  and  the  draughtsman.  In  the  fourth,  we  find 
an  object  which  I  take  to  be  a  small  box  of  colours,  hanging  from  a  case 
of  brushes;  these  appertain  to  the  painter.  Tory  was,  in  fact,  draughts^ 
man,  painter  and  engraver. 

I  have  already  said  that  Tory  was  probably  instructed  in  the  art  of 

I .  Read  MijSev  ayav. 

z.  [Against  which  not  even  the  gods  contend.]  3.  [See  page  i ,  supra.] 


BIOGRAPHY 


23 


drawing  by  the  famous  Jean  Perreal.  He  was  on  terms  of  the  closest 
friendship  with  that  artist,  who  drew  several  of  the  vignettes  in '  Champ 
fleury,'  if  we  may  judge  by  the  one  positively  attributed  to  him,  which 
is  printed  on  the  verso  of  folio  46.  Geofroy  informs  us  that  this  plate, 
insignificant  in  itself  (it  represents  two  circles  in  which  are  the  letters 

I  and  K,  modelled  on 
the  human  body),  was 
engraved  from  the 
design  of  a  friend  of 
his,  'from  that  which 
a  noble  lord  and  good 
friend  of  mine,  Jehan 
Perreal,  who  is  others 
wise  called  Jehan  de 
Paris,valet  de  chambre 
and  excellent  painter 
to  King  Charles  VIII, 
Louis  XII,  and  Fran^ 
cois,  first  of  the  name, 
made  known  and  gave 
to  me,  most  excellent-' 
ly  drawn  by  his  hand.' 
Now  this  engraving  is 
in  all  respects  similar 
to  those  to  be  found 
in  the  second  book  of 
'Champ  fleury.'  Both 
in  form  and  subject,  it 
is  altogether  different 
from  those  in  the  third 
book,  in  which  Tory 
printed  it.  Probably 
Perreal  died  while  the 
work  was  on  the  press,  and  Tory,  who  had  not  thought  of  naming  him 
while  he  was  alive,  in  connection  with  his  first  drawings,  did  so  after  his 
death,  by  publishing  the  last  souvenir  of  this  sort  which  he  possessed  from 
the  hand  of  his  friend,  although  it  did  not  fit  perfectly  with  the  subject; 
he  laid,  as  it  were,  a  flower  on  the  dead  man's  grave.' 

I .  This  eminent  artist,  who  has  no  article  in  the  Biographie  Universelle,  and  who  is  not 


24 


GEOFROY  TORY 


We  give  this  drawing  also,  as  the  only  work  which  can  be  with  ceu 
tainty  attributed  to  Jean  Perreal,  and  as  a  specimen  of  the  engravings 
which  serve  as  a  foundation  for  the  reformation  of  the  roman  letters 
proposed  by  Tory  in  the  second  book  of  his  'Champ  fleury.' 

From  what  1  have  said  it  will  be  seen  that  Tory's  book  required  sev 
eral  years  of  labour.  Nor  is  one  surprised  thereat  when  one  considers  the 
great  number  of  engravings  which  it  contains.  But  even  without  the  en' 
gravings,  it  will  readily  be  understood  that  a  work  which  necessitated  so 
much  observation  required  a  vast  expenditure  of  time.  Begun,  as  we  have 
seen,  in  1 523  (i  524,  new  style),  it  was  not  finally  completed  until  1 529, 
that  is  to  say,  after  six  years  of  toil.  However,  Tory  did  not  propose  that 
those  years  should  be  lost  for  art.  Desirous  to  preach  by  example  rather 
than  by  precept,  he  determined  to  publish,  in  the  interim,  other  books 
wherein  he  might  give  utterance  to  his  artistic  taste.  And  he  did  in  fact 
print  books  of  Hours,  admirably  executed,  which,  although  in  different 
form,  may  fitly  be  compared  to  the  Hours  of  Simon  Vostre,  who  had 
acquired  so  great  a  reputation  in  that  typographical  specialty.  Tory  re^' 
ceived  from  Francois  I  a  'privilege'  (license)  for  this  work,  to  run  six 
years,  dated  at  Avignon,  September  23, 1524.'  This  license  to  print ^  in^ 
forms  us  that  Tory  had  'made  and  caused  to  be  made^  certain  illustra^ 
tions  [histoires]  and  vignettes  "a  lantique"  and  likewise  some  "a  la 
moderne,"  in  order  to  have  the  same  printed,  and  to  serve  a  plusieurs 
usages  dheures,'  and  that  to  that  end  he  had  'expended  an  exceeding 
long  time  and  incurred  divers  great  expenses  and  outlays.' 

The  first  book  of  this  sort  which  he  published,  so  far  as  I  have  learned, 
is  an  edition  in  quarto  of  the  Hours  of  the  Virgin,  according  to  the 
Roman  use,  in  Latin.  It  is  a  superb  volume,  printed  by  Simon  de  Colines, 
with  borders  and  illustrations  'a  I'antique,'  perfect  in  taste  and  execution. 

even  mentioned  in  the  desiderata  of  the  Notice  des  tableaux  du  Louvre  de  P ecole  franfaise, 
published  by  M.  Villot,  did  not  die  until  about  1 528,  if  my  reckoning  is  accurate.  We  can  es- 
tablish the  fact  of  his  existence  so  late  as  1522  by  the  documents  published  by  M.  de  Laborde 
in  his  book  on  the  Renaissance.  I  once  owned  an  original  letter  of  Perreal,  which  shows  him 
in  full  vigour  in  i  5  1 1 .  That  letter,  which  I  presented  to  M.  Alexandre  Sirand,  magistrate  at 
Bourg,  has  been  published  by  him  in  his  Courses  Archeologiques,  vol.  iii,  p.  5,  in  connection 
with  the  church  at  Brou,  in  which  Perreal  was  deeply  interested.  The  letter  I  refer  to  is  dated 
November  15  ( i  5  1 1 )  and  addressed  to  Margaret  of  Austria  (widow  of  the  Duke  of  Savoy), 
to  whom  Perreal  offers  his  services  as  superintendent  of  the  work  of  building  the  church.  That 
princess  accepted  his  offer,  as  we  see  by  her  reply  of  February,  1  5  1 1  (1512  new  style)  : 
'  Since  Jehan  Le  Maire  hath  left  us,  we  choose  to  have  no  other  overseer  in  our  edifices  at  Brou 
than  yourself.'  (See  the  work  last  cited.  ) 

1 .  La  Caiile,  in  his  Hist  aire  de  P  Imprinter  ie,  p.  98,  gives  the  date  erroneously  as  September 
28,  I  584. 

2.  See  an  extract  from  it  in  Part  2,  §  2,  no.  1.  3.  \foit  et  fait  faireJ^ 


BIOGRAPHY  25 

The  bcx)k  was  undoubtedly  printed  by  Colines  as  a  joint  venture  with 
Tory,  for  there  are  copies  in  existence  in  the  name  of  each.  Those  in  the 
name  of  Colines  bear  on  the  title-page  the  date  1524,  and,  at  the  end, 
that  of  the  17th  of  the  Calends  of  February  (January  16),  1525;  those 
in  the  name  of  Tory  (there  are  two  varieties  of  these)  bear  but  one  date, 
1525,  and  that  at  the  end.  I  shall  speak  of  this  book  later,  in  detail.' 

Two  years  later  Tory  published  a  new  edition  of  the  same  Hours, 
in  a  small  octavo  volume,  also  printed  by  Simon  de  Colines,  in  roman 
type,  with  borders  and  illustrations  of  the  same  kind  but  much  smaller.^ 
The  printing  was  finished  October  21,  1527.  It  is  preceded  by  a  new 
license  from  Francois  I,  extending  Tory's  rights  for  ten  years,  not  for 
this  book  alone,  but  for  the  earlier  one  as  well, '  for  certain  illustrations 
and  vignettes  "  a  lantique"  by  him  heretofore  printed,'  and  in  considera^ 
tion  of  the  great  outlay  which  his  engravings  had  caused  him  to  make. 
This  license  is  dated  at  Chenonceaux,  September  5, 1526,  and  includes 
'Champ  fleury,'  the  printing  of  which  had  begun,  but  which  had  not 
yet  received  its  poetic  title,  for  it  was  still  referred  to  as  'Lart  et  science 
de  la  deue  et  vraye  proportion  des  lettres.'  In  the  same  year  Tory  pub-- 
lished  an  edition  in  quarto  of  these  same  Hours,  according  to  the  use 
of  Paris,  printed  by  Simon  Dubois  (Silvius).  This  book,  in  which  we  find 
again  the  license  of  1526,  is  printed  in  gothic  type,  with  borders  and  il/ 
lustrations  of  a  special  style,  called  'a  la  moderne.'  The  borders  are  ara^ 
besques  formed  of  plants,  insects,  birds,  animals,  etc.  At  the  foot  we  see 
the  F,  crowned,  of  Frangois  I,  and  the  salamander ;  the  L,  crowned,  of 
Louise  of  Savoy,  the  king's  mother;  and  the  impaled  shield  of  France 
and  Savoy,  etc.  Of  this  book  also  I  shall  speak  in  detail  hereafter .3  Finally, 
a  little  later,  at  a  time  which  I  am  unable  to  fix  precisely,  but  prior  to 
1 53 1,  Tory  caused  to  be  printed  another  book  of  Hours  of  the  same 
description,  that  is  to  say,  with  borders  of  plants,  insects,  birds,  etc.,  but 
in  a  smaller  format — small  octavo.  I  shall  describe  it  in  its  place.'^ 

These  publications  did  not  prevent  our  artist  from  giving  his  atten^ 
tion  to  literature.  While  he  was  overlooking  the  impression  of  his  Hours 
and  his  'Champ  fleury,'  he  was  preparing  various  works  to  which  we 
shall  have  occasion  to  refer  hereafter.  Generally  speaking,  they  are  trans^ 
lations  intended  to  enrich  the  French  tongue ;  for  Tory  did  not  lose  sight 
of  his  patriotic  purpose.  All  of  these  works  were  printed  subsequently, 
save  one,  perhaps — a  translation  of  the  hieroglyphs  of  Orus  Apollo, 


I .  See  Part  2,  §  2,  no.  i. 
3.  Ibid.  no.  3. 


2.  Ibid.  no.  2. 
4.  Ibid.  no.  6. 


26 


GEOFROY  TORY 


which  he  gave  to  a  'noble  lord  and  good  friend  of  his."  It  is  not  known 
whether  this  translation  was  ever  printed.  There  are  many  editions  of 
Oms  in  existence,  but  no  one  of  them  bears  the  name  of  Tory. 

'Champ  fleury'  appeared  at  last  in  1 529.  We  have  seen  that  this  book 
was  conceived  on  'the  day  of  the  feast  of  Kings,  which  was  reckoned 
M.  D.  XXIII,'  that  is  to  say,  January  6, 1524,  new  style.  The  printing  was 
not  completed  until  'the  xxviii  day  of  the  month  of  April  one  thou/ 
sand  five  hundred  xxix,'^  as  we  learn  from  the  subscription  at  the  end; 
that  is  to  say,  it  cost  nearly  six  years  of  toil.  The  following  is  an  exact 
copy  of  the  title-page  as  it  appears  in  the  first  edition:  — 

CHAMP  FLEVRY.  Au  quel  est  contenu  Lart  &  Science  de  la  deue 
&  vraye  Proportid  des  Lettres  Atdques,  quo  dit  autremet  Lettres  An^ 
tiques,  &  vulgairement  Lettres  Romaines,  proportionnees  selon  le  Corps 
&  Visage  humain. — Ce  Liure  est  Priuilegie  pour  Dix  Ans  Par  Le  Roy 
nostre  Sire,  &  est  a  vendre  a  Paris  sus  Petit  Pont  a  Lenseigne  du  Pot 
Casse  par  Maistre  Geofroy  Tory  de  Bourges/Libraire,  &  Autheur  du  diet 
Liure.  Et  par  Giles  Gourmont  aussi  Libraire  demourant  en  la  Rue  sainct 
laques  a  Lenseigne  des  Trois  Coronnes. 

It  is  gratifying  to  see  here  the  name  of  the  first  printer  in  Greek  type 
in  Paris.  It  was  Gourmont  himself  who  printed  this  learned  book,  wherein 
we  find  some  very  interesting  details  concerning  the  Hebrew,  Greek  and 
Latin  letters,  of  which  he  exhibits  models  which  have  not  changed  since 
that  time.3  The  workshop  of  Gilles  de  Gourmont  was  on  rue  Saint  Jean<' 
de^Latran;  but  we  see  that  in  1529  he  had  a  bookshop  on  rue  Saint/ 
Jacques,  at  the  sign  of  the  Trois  Couronnes, — an  allusion  doubtless  to 
the  three  roses  which  adorned  the  chief,  or  top,  of  his  shield.  This  shop 
adjoined  the  church  of  Saint/Benoit  on  the  north.'^  As  for  Tory,  he  seems 
to  have  lived  at  this  time  on  the  Petit'Pont,  'next  to  Hostel^Dieu.'  It 
was  there  that  he  wrote  his  book,  for  he  dates  his  epistle  to  the  reader 
thus : '  En  Paris  ce.  xxviii.  Jour  Dapvril  sus  Petit  Pont,  a  Lenseigne  du  Pot 
Casse.'  He  had,  however,  another  abode  on  rue  Saintjacques,  opposite 
the  '^cu  de  Bale,'  the  sign  of  Chretien  Wechel. 

1 .  Champ  fleury,  fol.  7  3  recto. 

2.  Several  bibliographers,  misled  doubtless  by  the  date  of  the  license,  mention  an  edition 
of  Champ  fleury  of  1526;  but  there  is  none.  Not  until  1549  was  there  an  octavo  edition, 
printed  for  the  bookseller  Vivant  Gautherot.  I  shall  speak  of  it  hereafter. 

3.  See  the  description  of  Champ  fleury.  Part  2,  §  i,  no.  10. 

4.  For  Gourmont,  see  the  Notice  historique  which  follows  my  work  entitled :  Les  Estiennt 
et  les  types  grecs  de  Francois  I'.' 


BIOGRAPHY  27 

At  the  beginning  of 'Champ  fleury'  is  printed  the  license  of  Septem/ 
her  5, 1526,  already  published  in  the  two  editions  of  the  Hours  of  1527, 
which  granted  to  Tory  a  ten  years'  right,  not  only  for  the  Hours,  but 
also  for  'Champ  fleury,'  which  was  then  being  printed,  but,  as  I  have 
already  said,  had  not  then  received  that  graceful  title.  This  license  makes 
it  clear  that  as  early  as  1526  Tory  was  thinking  of  joining  the  brother^ 
hood  of  printers.  He  became  a  printer  in  fact  soon  after  the  pubHcation 
of  his  book,  and  proceeded  to  print  several  works  of  his  own  composi-* 
tion.  I  give  here  a  list  of  these  various  publications,  in  the  order  of  their 
dates. 

I.  La  Table  de  lancien  philosophe  Cebes  .  . .  Avec  trente  Dialogues 
moraulx  de  Lucian . . .  translate  de  latin  en  vulgaire  francois  par  maistre 
Geofroy  Tory  de  Bourges. . . ' 

The  license  is  of  September  18, 1 529,  for  ten  years.  The  printing  was 
finished  October  5, 1529.  It  is  a  small  octavo  volume,  in  two  parts,  with 
roughly  executed  borders  on  each  page.  There  are  twelve  preliminary 
leaves,  containing  a  long  list  of  errata,  and  two  series  of  signatures,  the 
first  running  from  A  to  T,  the  second  from  a  to  -u.  The  book  was  for 
sale  at  the  translator's  shop,  'rue  Sainct  laques,  devant  lescu  de  Basle,^  a 
lenseigne  du  Pot  Casse,'  and  at  Jean  Petit's  on  'rue  Sainct  laques,  a  len-' 
seigne  de  la  Fleur  de  lys.'  There  is  nothing  to  indicate  where  the  book 
was  printed;  but  as  it  is  set  in  the  type  used  for  the '  Epitaphs'  of  Louise 
of  Savoy,  I  am  inclined  to  think  that  it  came  from  Tory's  workshop. 
In  that  case  it  was  the  first  book  that  he  printed.^  The  long  list  of  er^ 
rata  would  seem,  in  truth,  to  suggest  a  novice,  and  would  explain  why 
no  printer's  name  is  given. 

In  the  letter '  to  the  readers '  at  the  beginning  of  this  book,  Tory  returns 
to  the  charge  against  the  villains  [rufients]  who  were  changing  the 
French  language  on  the  pretext  of  perfecting  it.  There  are  some  tirades 
quite  worthy  of  a  place  in  'Champ  fleury.'  He  ends  his  preamble  vdth 
a  curious  passage  which  gives  us  an  idea  of  his  tastes.  'I  believe  that  if 

1.  Gilles  de  Gourmont  had  just  published  Lucian's  Dialogues  in  Greek  (quarto,  1528); 
but  Tory's  translation  was  made  from  a  Latin  version.  Although  he  knew  Greek,  he  did  not 
use  it  when  he  could  avoid  it.  As  a  general  rule  he  translated  from  Latin  versions  such  Greek 
authors  as  he  dealt  with. 

2.  This  was,  as  we  have  seen,  the  sign  of  the  famous  printer  Chretien  Wechel;  it  was  on 
the  right  as  one  ascends  rue  Saint-Jacques,  near  the  church  of  Saint-Benoit.  The  Pot  Casse 
was  opposite. 

3.  See  a  description  of  it  in  Part  2,  §  i,  no.  1 1. 


28 


GEOFROY  TORY 


the  ancient  and  noble  painter  Zeuxis  of  Heraclea,  if  Raphael  of  Urbino, 
Michel  Angelo,  Leonardo  da  Vinci  or  Albrecht  Diirer'  should  try  to 
paint  philosophers  and  their  various  aspects,  they  could  not  paint  them 
so  well  nor  so  to  the  life  as  our  Lucian  paints  them  herein.'  Lastly,  he 
informs  the  reader  that  he  will  soon  make  him  'another  new  gift';^  and 
he  kept  his  promise  by  publishing  the  following  work. 

n.  Summaire  de  chroniques  contenans  les  vies,  gestes  et  cas  fortuitz 
de  tous  les  empereurs  Deurope,  depuis  lules  Cesar  iusques  a  Maxirmlien 
dernier  decede  . . .  par  . . .  lehan  Baptiste  Egnace,  Venicien.  Et  translate 
de  ladicte  langue  latine  en  langaige  francoys  par  maistre  Geofroy  Tory  de 
Bourges. 

An  octavo  volume,  containing  1 6  leaves  of  preface,  99  of  text,  and  an 
index  containing  13  leaves — 128  in  all.  At  the  end,  we  read:  'The  prints 
ing  of  this  book  was  finished  at  Paris  the  xiii  day  of  April,  m.  d.  xxix,  for 
maistre  Geofroy  Tory  de  Bourges,  who  sells  it  at  said  Paris,  at  the  sign  of 
the  Pot  Casse.'  In  Tory's  preface,  addressed  'to  all  studious  and  true  lovers 
of  honest  letters,'  he  says:  'I  promised  you  of  late  in  the  preface  to  the 
"Table  of  Cebes"  that  in  a  short  space  I  would  make  for  you  another 
new  book.'  It  was  in  fulfilment  of  that  promise  that  he  published  the 
'Summaire  de  Chroniques'  of  Egnasio. 

The  date  of  printing  given  above  corresponds  to  April  13, 1530,  new 
style;  for  Easter  fell  in  that  year  on  April  1 5.  Some  bibliographers  men' 
tion  an  edition  of  this  book  of  1520;  but  it  is  an  error,  for  the  license  is 
dated  1 529.  La  Caille^  says  that  the  edition  of  1 529  was  printed  by  Tory; 
this  is  possible,  but  not  certain.  It  may  even  be  that  it  was  printed  by 
Gourmont,  for  it  is  set  in  the  same  type  used  in  'Champ  fleury.'"*  There 
are  three  later  editions  of  this  book,  printed  by  Charles  I'Angelier  in  1 541 , 
1543,  1544  (octavo);  we  shall  speak  of  them  hereafter.  As  for  the  edi^ 
tion  of  1 529, 1  found  it  only  in  the  library  of  M.  Ambroise  Firmin  Didot, 
who  kindly  allowed  me  to  describe  it.  This  copy  is  still  in  the  original 
binding,  with  the  Pot  Casse. 

But  all  these  works  did  not  cause  Tory  to  lose  sight  of  his  great  patri^ 
otic  idea.  He  did  not  confine  himself  to  simple  wishes  for  the  welfare 
of  the  French  language.  In  default  of  the  other  'noble  hearts'  whom  he 

1 .  \_Raphael  durbin,  Michel  lange,  Leonard  vince,  Albert  durer,  are  Tory's  versions  of 
these  names.] 

2.  The  description  of  the  volume  in  Part  2  (p.  87  infra),  places  this  promise  in  the  dedica- 
tory letter.  3.  Histoire  de  P Imprimerie,  p.  98.  4.  See  Part  2,  §  1,  no.  13. 


BIOGRAPHY  29 

invited  'to  establish  and  order  our  language  by  rule,' '  he  himself  under' 
took  that  work.  Rich  in  materials  as  he  was,  and  with  the  ardor  with 
which  he  entered  into  everything,  he  soon  completed  his  task.  The  li' 
cense  to  print  the  'Summaire  de  Chroniques'  includes  a  book  by  Tory 
entitled:  'Les  Reigles  generales  de  lorthographe  du  langaige  francois,' 
which  he  proposed  soon  to  put  on  the  press.  Was  this  book  ever  printed? 
was  it  ever  finished?  These  are  questions  which  I  am  unable  to  answer, 
for  I  have  discovered  no  trace  of  it  elsewhere;  but  so  many  other  books 
have  disappeared  that  I  should  not  be  surprised  to  learn  that  this  one  had 
undergone  the  same  fate. 

III.  Hours  (in  Latin)  according  to  the  Roman  use;  sixteenmo,  with 
illustrations  and  borders;  printed  in  roman  type;  finished  February  8, 
1 529,  which  date  corresponds  to  February  8, 1530,  new  style,  and  proves 
that  Tory  had  become  a  printer  in  1529.  Here  is  the  exact  title  of  this 
book,  which  I  shall  describe  in  detail  later:  ^  'Horae  in  laudem  beatissimae 
Virginis  Maris  secundum  usum  romanum.'  On  the  last  leaf  are  these 
words:  'Parrhisiis,apud  Gotofrcdum  Torinum  Biturigum.  viii.  die  febr. 
anno  sal.  m.  d.  xxix.  Ad  insigne  Vasis  efFracti.' 

IV.  T^diloquium  ceu  {sic)  disticha  partibus  aedium  urbanarum  et 
rusticarum  suis  qusque  locis  adscribenda.  Item,  epitaphia  septem  de 
amorum  aliquot  passionibus,  etc.  Authore  Gotofredo  Torino  Biturigico. 

Paris,  Simon  de  Colines,  1530;^  italic  type;  3  octavo  sheets,  with  li-' 
cense  for  two  years.  This  book  has,  in  the  second  part,  seven  charming 
engravings  on  wood.  I  cannot  understand  why  Tory  did  not  print  it,  as 
he  was  then  a  printer.  May  it  have  been  because  it  was  customary  at 
that  time  to  print  poetical  works  in  italic  type,  and  he  had  none  in  his 
printing  office?  Copies  of  the  book  are  preserved  in  the  Bibliotheque 
Nationale,  at  the  Arsenal  [two]  and  at  Sainte^Genevieve.  The  copy  in 

1 .  Champ  fleury,  '  avis  au  lecteur.' — See  also  tbl.  i  verso  :  '  And  so  I  will  write  in  French 
according  to  my  own  humble  style  and  mother  tongue,  nor  fail,  albeit  I  am  of  lowly  and  hum- 
ble parents,  and  poor  in  paltry  goods,  to  give  pleasure  to  the  devoted  lovers  of  goodly  letters. 
Herein  it  may  be  I  shall  seem  a  new  man,  for  that  no  one  has  heretofore  been  known  to  teach 
the  fashioning  and  quality  of  letters  by  writing  in  the  French  language;  but,  desirous  to  cast 
some  light  on  our  language,  I  am  content  to  be  the  first  litde  pointer  to  arouse  some  noble  mind 
which  shall  put  forth  greater  efforts,  as  did  the  Greeks  and  Romans  of  old,  to  establish  and  or- 
dain the  French  language  by  fixed  rules  for  pronouncing  and  speaking  well.  God  grant  that 
some  noble  lord  may  be  pleased  to  offer  pledges  and  worthy  gifts  to  those  who  shall  be  able  to 
do  this  well.' —  Francois  I  himself  was  the  noble  lord  referred  to. 

2.  See  Part  2,  §  11,  no.  4. 

3.  As  to  this  date,  sec  no.  v  below,  p.  3 1 ,  and  note  i . 


30  GEOFROY  TORY 

the  Bibliotheque  Nationale  is  still  in  the  original  binding,  with  the  Pot 
Casse.' 

Alluding  to  the  first  part  of  his  book,  Tory  expresses  himself  thus  in 
his  'avis  au  lecteur':  'There  are  certain  eminent  painters  in  this  prolific 
age,  most  gentle  reader,  who,  by  their  drawings,  paintings,  and  varied 
colouring,  depict  the  tribal  gods  and  human  beings,  as  also  other  things 
of  different  sorts,  with  such  exactness  that  a  voice  and  a  soul  seem  the 
only  things  wanting  to  them;  but  here,  most  gentle  reader,  I  offer  you, 
nearly  in  the  manner  of  these  painters,  a  house,  which  not  only  is  elegant 
and  finished  in  its  outlines  and  parts,  but  even  speaks  prettily  and  de^ 
scribes  itself  part  by  part  in  a  eulogy.'  ^  It  will  be  seen  that  Tory's  thoughts 
were  still  engrossed  by  art. 

V.  Science  pour  senrichir  honnestement  et  facilement,  intitulee  Le^ 
conomic  Xenophon,  nagueres  translatee  de  grec  et  latin  en  langaige  fran^ 
coys,  par  maistre  Geofroy  Tory  de  Bourges. — On  les  vend  a  Paris,  en  la 
rue  Sainct  laques,  devant  lescu  de  Basle,  et  devant  lesglise  de  la  Magda^ 
laine,  a  lenseigne  du  Pot  Casse. 

Octavo,  of  9  sheets ;  printing  finished  July  5, 1 53 1 .3  On  the  back  of  the 
title/page  are  these  words:  'At  the  said  sign  of  the  Pot  Casse  are  also  for 
sale  Thucydides  and  Diodorus,  with  some  other  excellent  books  trans^ 
lated  from  Greek  and  Latin  into  French.  Likewise  there  are  fine  Hours 
and  Offices  of  Our  Lady,  large,  medium  and  small,  with  illustrations  and 
vignettes  "a  I'antique.'" 

Were  the  Thucydides  and  Diodorus  printed  by  Tory,  as  well  as  the 
large,  medium  and  small  Hours  ?  Possibly,  but  I  have  found  no  indica^ 
tion  of  it.  As  for  attributing  the  translations  to  him,  that  is  out  of  the 
question,  for  he  says  nothing  of  it  in  the  dedication,  addressed  to  Antoine 
du  Prat,  Cardinal  de  Sens,  etc.,  wherein  he  mentions  the  preceding  works 
of  the  same  sort:  — 

'After  the  book  of  the  Explanation  of  the  antique  letters,  called 
"Champ  Fleury,"  which  I  put  together  in  the  French  language,  and 
the  "Table  de  Cebes,"  with  thirty  moral  dialogues;  hkewise  the  "Sum^ 
maire  de  Chroniques,"  which  I  translated  into  our  said  language,  to  con^ 
fer  a  benefit  on  the  studious, ...  it  seemed  to  me  to  be  a  worthy  way  of 
passing  my  time  to  employ  myself  in  translating  the  "Economic  Xeno*- 
phon"  also.' 

1 .  See  Part  2,  §  i ,  no.  14.  2.  See  Appendix  X,  e. 

3.  This  volume  contains  also:  Epistre  du  seigneur  Elisee  Calense,  natif  Damphrate,  quil 
envoya  a  Rufin  .  .  .  translatee  .  .  .  par  maistre  Geofroy  Tory  de  Bourges. 


BIOGRAPHY  31 

Tory  does  not  mention  here  the  'iEdiloquium,'  probably  because  that 
book  was  in  Latin,  or,  rather,  because  it  was  not  printed  at  the  time  of 
the  composition  of  this  dedication,  which  was  in  all  probability  written 
in  the  first  three  months  of  1531,  then  reckoned  in  the  year  1530,'  a 
circumstance  which,  in  my  opinion,  explains  the  date  of  the  'yEdilo-' 
quium.'  In  fact,  that  book  cannot  have  been  printed  before  1 53 1 ,  for  the 
license  of  the  'Economic  Xenophon,'  which  includes  the  '^diloquium' 
(to  which,  by  the  way,  it  gives  a  sub^'title,  'et  Erotica,'  which  was  re/ 
jected  when  it  was  printed,  as  likely  to  give  a  false  idea  of  the  book),  is 
dated  June  18,  1531,  and  extends  Tory's  rights  to  four  years  instead  of 
the  two  mentioned  on  the  title/page  of  the  '^diloquium.'  From  all  of 
which  I  conclude  that  the  last-named  book  was  printed  before  the  license 
was  obtained,  but  only  a  short  time  before,  and  while  the  application  was 
pending. 

The  license  first  mentioned^  also  concedes  to  Tory  an  extension  of 
four  years  'for  certain  other  books,  illustrations  and  vignettes,  to  cause 
to  be  printed  the  Hours  and  Offices  of  Our  Lady,  mentioned  in  two 
licenses  heretofore  granted  to  him,'  dated  September  23, 1524,  and  Sep/ 
tember  5, 1526.  Tory  requested  this  extension  of  time  because  he  was 
preparing  to  reprint  the  Hours,  as  we  see  by  the  date  of  the  following 
book. 

VI.  Hours  according  to  the  Roman  use,  quarto ;  published  October 
2D,  1 53 1,  in  Latin.  This  was  a  new  edition  of  the  Hours  printed  in  1524- 
1525  by  Simon  de  Colines.  We  find  the  same  borders  and  illustrations 
as  before;  but  several  engravings  which  had  already  appeared  in  some 
of  the  earlier  books  just  described  are  added.  I  shall  describe  this  book 
later.  It  seems  to  be  printed  from  the  'Champ  fleury'  type,  and  bears  the 
following  title :  Horas  in  laudem  beatiss.  Virginis  Marise.  Ad  usum  ro/ 
manum.  Parrhisiis  apud  Gotofredum  Torinum  Biturigicum,  regium 
impressorem.3 

VII.  Politiques  de  Plutarque,  cest  a  dire:  Civiles  Institutions  et  en/ 
seignemens  pour  bien  regir  la  chose  pu[bHque] . . .  translatees  . . .  par 
maistre  Geofroy  Tory  de  Bourges.  Dediees  ...  a  tresilustre  . . .  Francois 
de  VaUois,  Daulphin  de  France. 

Octavo,  with  8  preliminary  leaves,  and  67  numbered  leaves  of  text. 

1 .  The  year  1 5  3 1  did  not  begin  until  Easter  Sunday,  April  9. 

2.  See,  for  other  details  concerning  Tory's  Xenophon,  Part  2,  §  i,  no.  i  5. 

3.  Ibid.  §  II,  no.  5. 


32  GEOFROY  TORY 

On  the  verso  of  leaf  67  we  read:  'The  printing  of  this  book  was  finished 
Saturday  the  xv.  day  of  June,  m.  d.  xxxii.  by  maistre  Geofroy  Tory  de 
Bourges,  bookseller  and  king's  printer,  dwelling  in  Paris,  opposite  the 
church  of  La  Magdaleine,  at  the  sign  of  the  Pot  Casse.' 

Another  edition  was  published  at  Lyon  in  1534.  We  shall  refer  to  it, 
as  well  as  to  the  earlier  edition,  hereafter.' 

VIIL  La  Mouche  de  Lucian  et  la  Maniere  de  parler  et  se  taire  [de 
Volaterran]. — Le  tout  [translate]  par  maistre  Geofroy  Tory  de  Bourges, 
imprimeur  du  Roy  et  libraire  jure  en  luniversite  de  Paris.  On  les  vend 
a  Paris,  devant  leglise  de  la  Magdaleine,  a  lenseigne  du  Pot  Casse. 

Octavo,  8  leaves;  without  date  of  printing  or  license,  but  printed  by 
Geofroy  Tory  himself,  after  February  22,  1533;  for  he  assumes  the  title 
of  'libraire  jure'^  of  the  University,  which  did  not  belong  to  him  until 
that  day.  Moreover  he  makes  use  in  this  book  of  the  acute  accent,  the 
apostrophe  and  the  cedilla,  which  he  never  used,  as  we  shall  soon  see, 
until  after  the  edition  of  Clement  Marot,  dated  June  7,  1533.  It  was 
therefore  subsequent  to  that  date,  but  prior  to  October  of  the  same  year, 
that  'La  Mouche'  was  published.^ 

In  several  of  the  works  we  have  described,  Tory  assumes  the  title  of 
printer;  in  the  last  three  he  describes  himself  as  king's  printer,  and  in 
one  of  them  as  a  'libraire  jure'  of  the  University.  These  last  two  digni^ 
ties  he  owed  to  the  initiative  of  Francois  I.  That  king,  who  had  never 
before  conferred  that  honour  upon  any  one,  deemed  it  his  duty  to  make 
the  author  of  'Champ  fleury'  king's  printer.  In  truth  it  was  natural 
enough  to  confer  that  title  upon  him  who  had  displayed  so  perfect  an 
understanding  of  the  art  of  typography,  combined  with  such  a  store  of 
literary  knowledge,  and  whose  book  caused  a  veritable  revolution  in 
printing,  no  less  from  the  technical  and  practical  than  from  the  gram' 
matical  and  philological  standpoint;  for  there  is  one  fact  which  I  have 
not  as  yet  mentioned  and  which  I  am  glad  to  set  down  here:  immediately 
after  the  publication  of  'Champ  fleury '  French  typography  began  to  in' 
elude  in  its  fonts  of  type  accents,  apostrophes  and  cedillas,"*  the  absence 

1.  See  Part  2,  §  i,  no.  16. 

2.  [A  libraire  jure  was  a  bookseller  who  had  taken  the  oath  to  follow  the  rules  prescribed  by 
the  University.] 

3.  See  Part  2,  §  i,  no.  17. 

4.  The  reform  went  even  further  than  Tory  suggested,  for  orthographic  accents  were  in- 
vented, which  have  no  other  purpose  than  to  distinguish  words  of  the  same  sound  but  of  different 


BIOGRAPHY  33 

of  which  Tory  deplored,  and  which  he  himself  used  soon  after,  and  be*' 
fore  any  other  printer,  as  we  shall  see. 

But  the  most  noteworthy  result  produced  by  the  publication  of 
'Champ  fleury '  was  the  reformation  of  the  old  types.  That  book  not  only 
contributed  to  the  abandonment  of  gothic  letters,  but  brought  about  the 
remodelling  of  the  old  roman  letters.  Robert  Estienne,  among  others,  re^ 
cast  at  this  time  all  those  that  had  come  down  to  him  from  his  father, 
the  first  Henri  (or,  to  speak  more  accurately,  from  his  father-in-law  Simon 
de  Colines),  and  replaced  them  by  types  of  a  new  shape,  which  were  cut, 
I  think,  by  Tory  (for  his  pupil,  Garamond,  seems  not  to  have  been  cap-* 
able  of  doing  it  at  this  time),  and  which  continued  to  be  used,  almost 
without  change,  down  to  the  time  of  the  Revolution.  It  is  in  this  sense 
only  that  it  can  properly  be  said  that  Tory  perfected  the  types  of  Josse 
Bade;  for  I  think  that  he  did  not  cut  any  type  for  that  celebrated  printer, 
who  was  established  in  Paris  long  before  Tory  turned  his  attention  to 
engraving,  and  who  died  in  1535,  a  few  years  after  the  publication  of 
'Champ  fleury,'  without  changing  in  any  way  his  method  of  printing. 
It  was  Tory  too,  doubtless,  who  cut  Robert  Estienne's  italic  type;  for  it 
bears  a  strong  resemblance  to  Simon  de  Colines's,  which  I  have  already 
attributed  to  him.' 

^he  sensation  caused  by  Tory's  book,  in  foreign  countries  as  well  as 
in  France,  is  evidenced  also  by  the  writings  of  his  contemporaries.  In  Paris, 
Antoine  du  Saix,  author  of  the  'Esperon  de  discipline,'  expresses  himself 
thus  in  an  epistle  in  verse  dedicated  to  his  friends,^  among  whom  we  find 
mentioned  Rene  Masse,  also  a  friend  of  Tory,  and  several  other  littera^ 
teurs  of  the  time:  — 

Geof&oy  Thory,  qui  divine  as  heu  main 
Pour  figurer  dessus  le  corps  humain 
La  lettre  anticque,  ouyant  que  plume  ay  prise 
Pour  te  imiter,  ce  bourgeon  ne  meprise. 
Raisin  sera,  sil  a  temps  de  meurer  [murir]. 

meaning;  and  therein  it  disregarded  logic,  for  it  not  only  did  not  distinguish  in  this  way  all 
words  of  the  same  sound  (^son,  for  example,  which  has  three  totally  different  meanings,  received 
no  accent),  but  it  placed  accents  on  words  which  had  but  one  meaning,  —  d'eja,  for  example  ; 
of  what  use  is  the  grave  accent  on  the  a  ?  Moreover,  it  placed  accents  in  certain  cases  on  words 
which  in  other  cases  have  none.  Thus  it  wrote  '  votre  ami  et  le  notre,'  and  '  notre  ami  et  le 
votreJ'  1.  See  supra,  p.  8. 

2.  It  is  printed  at  the  end  of  his  book,  which  has  some  similarity  to  Tory's.  The  full  title  is: 
Lesperon  de  discipline  pour  inciter  les  humains  aux  bonnes  lettres,  etc.  On  the  title-page  are  the 
arms  of  Savoy,  to  indicate  the  nativity  of  the  author,  who  was  born  in  La  Bresse,  which  then 
belonged  to  the  House  of  Savoy. 


34  GEOFROY  TORY 

In  London,  Leonard  Coxe,  alluding  to  the  grammar  published  shortly 
after  by  his  compatriot  Palsgrave,  exclaims:  'Learned  Geofroy,  he  has 
fulfilled  the  wish  so  often  expressed  in  thy  "Champ  fleury,"  for  here  we 
have  the  French  language  taught  thoroughly,  by  virtue  of  rules  duly  au-- 
thorized.' ' 

Tory  probably  received  the  title  of  king's  printer  in  1 530,  but  I  do  not 
find  that  he  assumed  it  earlier  than  1531,  and,  failing  documentary 
evidence,  I  cannot  accredit  him  with  it  at  an  earlier  date.  It  was,  I  fancy, 
his  appointment  which  led  the  authors  of  the  'Art  de  verifier  les  dates' 
to  say  that  'Fran9ois  I  established  the  Imprimerie  Royale  in  Paris'  on  his 
return  from  the  Abbaye  de  Veyen,  where  he  had  espoused,  on  July  4, 
1530,  Eleonora,  sister  of  the  Emperor  Charles  V/  It  is  the  fact  that  at 
that  time  Tory  was  entrusted  with  several  'royal  printings'  concerning 
this  marriage  of  the  king.  Thus  he  published,  March  16,  1530  (1531, 
new  style),  a  little  work  of  Guillaume  Bochetel,  entitled:  'Le  Sacre  et 
coronnement  de  la  Royne,  imprime  par  le  commandement  du  Roy  nostre 
sire.'  It  is  a  thin  quarto  of  1 2  leaves,  printed  with  a  certain  sumptuous^ 
ness,  and  the  License,  signed  'de  la  Barre,'^  is  thus  conceived:  — 

'We  have  granted  to  maistre  Geofi^oy  Tory,"marchant  libraire,impri'' 
meur,"  license  to  print  the  "Coronnement  de  la  Royne,"  and  aD  other 
printers  are  forbidden  to  print  it  for  one  year,'^  upon  pain  of  a  discretionary 
fine  and  of  the  confiscation  of  said  book,  etc.  Done  at  Paris  the  tenth  day 
of  March.'  The  consecration  of  the  queen  had  taken  place  at  Saint^Denis 
five  days  earlier,  March  5,  1530  (1531,  new  style). 

A  few  days  later  Tory  published  another  little  book  by  the  same  au^ 
thor:  'Lentree  de  la  Royne  en  sa  ville  et  cite  de  Paris,  imprimee  par 
commandement  du  Roy  nostre  sire.' Quarto,  24  leaves ;  same  arrangement 
as  in  'le  Sacre,'  etc.5  The  license,  dated  at  Anet,  April  26,  1531  (Easter 
fell  that  year  on  April  9),  gives  Tory  no  other  title  than  'libraire,'  but 

1 .  See  in  Appendix  II,  the  Latin  verses  printed  on  the  verso  of  the  title  of  Lesclaircissement 
de  la  langiie francoise,  an  English  work  reprinted  in  1 8 52  at  M.  Genin's  instance. 

2.  This  error  has  been  made  by  many  waiters.  The  creation  of  king's  printer  was  so  far  from 
being  identical  with  the  foundation  of  the  Imprimerie  Royale,  that  there  continued  to  be  fimc- 
tionaries  bearing  that  title  even  after  the  foundation  of  the  Imprimerie  du  Louvre,  in  1640,  as 
we  shall  see  later  (Appendix  IX). 

3.  Jeande  la  Barre,  chevalier,  Comte  d'fetampes,  counsellor  and  chamberlain  in  ordinary 
to  the  king,  first  gentleman  of  his  chamber,  and  keeper  of  the  provostry  of  Paris,  granted  the 
licenses  to  print  at  this  time. 

4.  The  license  had  no  sooner  expired  than  the  work  was  reprinted,  as  may  be  seen  by  a  copy 
of  an  edition  of  8  leaves,  octavo,  in  gothic  type,  dated  i  53  i,  now  in  the  Bibliotheque  Na- 
tionale. 

5.  See  the  description  of  these  two  opuscula  in  Part  2,  §  ui,  nos.  I  and  2. 


BIOGRAPHY  35 

the  omission  is  evidently  accidental.'  The  volume  contains  three  pieces 
in  Latin  verse  by  Geofroy  Tory,  two  addressed  to  the  queen  ('  ad  reginam 
Leonorem '),  the  other  to  the  French  people  ('  adgentemgallicam ').  On 
the  verso  of  the  last  leaf  are  these  words:  'The  printing  of  this  book 
was  finished  Tuesday  the  ninth  day  of  May  m.  d.  xxxi.'  This  book  ex-* 
hibits  specimens  of  three  different  types  used  by  Geofroy  Tory :  a  *  saint'' 
augustin,'  in  which  the  text  is  printed,  a '  philosophie,'  ^  and  a  brevier.  In 
all  these  publications  we  find  Tory's  borders  and  his  broken  jar,  and  these 
words  at  the  foot  of  the  title :  On  les  vend  a  Paris,  en  la  rue  Sainct  Jacques, 
devant  lescu  de  Basle,  et  devant  lesglise  de  la  Magdaleine,  a  lenseigne 
du  Pot  Casse.' 

It  will  be  noticed  that  Tory  had  left  his  second  domicile,  on  the  Petit/ 
Pont,  which  was  too  small,  doubtless,  for  his  printing  establishment,  and 
had  settled  in  the  heart  of  the  Cite,  almost  opposite  the  church  of  La 
Madeleine,  which  then  stood  very  near  the  corner  of  rue  de  la  Juive^ 
rie  and  rue  de  Marmouzets.  His  new  abode  was  on  the  site  of  the  old  and 
famous  Halle  aux  Bles  de  Beauce,  in  a  house  to  which  he  transported 
his  sign  of  the  Pot  Casse  (which  it  retained  for  several  years),  and  which 
corresponds  to  the  present  number  i6  rue  de  la  Cite,  according  to  the  evi^ 
dence  courteously  furnished  me  by  M.  Adolphe  Berty,  whose  knowledge 
of  old  Paris  is  so  thorough.^  However  that  may  be,  the  first  work  in  which 
to  my  knowledge  Geofroy  Tory  assumes  the  title  of  king's  printer  is  a 
thin  volume  of  two  and  a  half  quarto  sheets,  of  the  same  typographical 
arrangement  as  those  last  described,  but  printed  in  different  type,  which 
seems  to  me  to  have  been  cut  by  Tory.  It  was  published  on  the  occasion 
of  the  death  of  Louise  of  Savoy,  mother  of  Francois  I,  which  occurred  Sep/ 
tember  22, 153 1.  The  contents  consist  of  Latin  and  French  epitaphs  com/ 
posed  in  honour  of  the  deceased,  and  it  bears  on  its  first  page  the  following 
title,  bisected:  — 

'In  Lodoicas  regis  matris  mortem  epitaphia  latina  et  gallica.  —  Epi/ 
taphes  a  la  louenge  de  ma  dame  mere  du  Roy  faictz  par  plusieurs  recom/ 
mendables  autheurs.'  Below  this  are  these  words:  'On  les  vend  a  Paris, 
devant  LegHse  de  la  Magdaleine,  a  Lenseigne  du  Pot  Casse.' 

The  license,  dated  at  Paris,  October  15, 153 1,  and  signed  de  la  Barre,aC'' 

1.  A  much  stranger  omission  is  that  of  de  la  Barre's  signatiire,  which  had  to  be  added  by 
hand  to  every  copy,  at  the  foot  of  the  license. 

2.  [The  saint- august  in  was  a  i  3 -point  type,  so  called  because  it  was  used  in  1467  to  print 
St.  Augustine's  De  Civitate  Dei.  The  philosophie  was  lo-point.] 

3.  See  his  litde  book  entided  Les  Trois  Hots  de  la  Cite ;  octavo,  1 860  (an  extract  from  the 
Revue  Archeologique^ . 


36  GEOFROY  TORY 

cords  unequivocally  to  Tory  the  title  of  king's  printer:  •  We  have  granted 
to  maistre  Geofroy  Tory,  merchant,  bookseller  and  imprimeur  du  roy, 
leave,'  etc.  On  the  last  page,  which,  like  the  first,  is  enclosed  in  a  border, 
are  the  words:  'Printed  at  Paris  at  the  sign  of  the  Pot  Cass^,  by  maistre 
Geofroy  Tory  de  Bourges,  Marchant,  Libraire  et  Imprimeur  du  Roy.  The 
XVII  day  of  October  m.  d.  xxxi.'  ' 

What  salary  did  Tory  receive  as  king's  printer?  It  is  impossible  for 
me  to  say  positively;  however,  if  we  may  judge  from  what  happened 
in  1538,  in  the  case  of  Conrad  Neobar,^  he  probably  received  100  'ecus 
au  soleil'3  per  year,  which,  at  the  current  valuation  of  45  sous  each, 
would  make  225  'livres  tournois.'  Indeed,  that  sum  was  paid  in  167 1, 
more  than  a  century  later,  to  Pierre  Le  Petit,  king's  printer/ 

If  Frangois  I  manifested  his  good  will  to  Geofroy  Tory  in  appointing 
him  king's  printer,  he  manifested  it  even  more  signally  by  causing  him  to 
be  admitted  to  the  brotherhood  of  'libraires  jures'  of  the  University,  with 
all  the  privileges  appurtenant  to  that  office.^  For,  in  the  first  instance,  he 
simply  made  use  of  his  prerogative;  in  the  second  he  imposed  his  will 
on  the  University:  the  number  of  'libraires  jures,'  which  was  fixed  at 
twenty /four,  being  full,  Fran9ois  I  created  a  twenty /-fifth  membership 
in  Tory's  favour,  and  the  University  ratified  that  creation  at  its  sitting 
of  February  22, 1532  (1533,  new  style),  minuting,  however,  that  it  was 
a  gift  of  the  King,^  as  if  to  imply  that  it  was  not  to  be  taken  as  a  pre^ 
cedent.  In  fact,  they  returned  to  the  number  twenty /four  on  the  death 
of  Tory,  which  unfortunately  was  not  long  delayed. 

Farther  on  will  be  found  a  list  of  the  works  published  by  Tory  as 
king's  printer,  both  for  the  king  and  for  private  individuals.^  I  will  men/ 
tion  here  a  single  one,  which  is  of  some  interest  in  connection  with  the  bi/ 
ographyof  our  artist:  the' Adolescence  Clementine'  (of  Clement  Marot), 
fourth  edition,  published  by  Tory  June  7,  1533.  On  the  title/page  is  a 
note  in  these  words : '  With  certain  accents  noted,  namely,  on  E  masculine 
different  from  the  feminine,  between  words  joined  by  synalephe,  and 
under  Q  when  it  is  pronounced  like  S,  the  which  heretofore,  for  lack  of 

1 .  See  Part  2,  §  iii,  no.  3. 

2.  See  Appendix  VI. 

3.  [The  ecu  au  soleil  was  a  coin  issued  under  Louis  XI  and  Charles  VIII,  with  a  sun  above 
the  crown.  The  livre  tour?iois  was  worth  20  sous.] 

4.  See  Appendix  VIII. 

5.  Concerning  the  libraires  juris  and  non  juris,  see  Chevillier,  Origine  de  1'  imprimerie  de 
Paris,  part  4. 

6.  [^Don  du  roi.'\  See  Appendix  III. 

7.  See  Part  2,  §§  m  and  iv. 


BIOGRAPHY 


37 


suggestion,  has  not  been  done  in  the  French  language,  although  it  was 
and  is  most  essential.'  This  was  the  first  work  in  which  Tory  applied  the 
orthographic  system  he  had  suggested  in  'Champ  fleury."  The  fact  is 
evident  from  the  inexperience  of  the  compositors,  who  made  several 
blunders  in  this  very  note. 

This  book,  one  of  the  rare  copies  of  which  is  in  the  Bibliotheque  Na/ 
tionale,  presents  still  another  interesting  peculiarity.  The  title-page  is 
arranged  in  a  different  way  from  that  in  vogue  at  the  time.  In  the  first 
three  editions  the  first  two  words  form  four  lines  of  capitals  of  the  same 
size  and  length,  by  virtue  of  the  spacing:  LADOLE — SCENCE — 
CLEMEN — TINE.  In  the  fourth  edition  they  fill  two  lines  only 
(LADOLESCENCE— CLEMENTINE), but  still  in  type  of  the  same 
size,  contrary  to  the  practice  of  other  printers,  who  would  have  dimin^ 
ished  by  at  least  one  degree  the  size  and  length  of  the  Unes,  without  re/ 
gard  to  logic.  They  would  probably  have  printed  the  title  thus: 

L  A  D  O  L  E  S 

CENCE  CLEMEN 

tine 

Tory's  method  of  execution,  which  he  borrowed  from  the  arrangement 
of  ancient  inscriptions,  was  less  agreeable  to  the  eye  perhaps,  but  it  was 
more  logical.  It  was  a  step  toward  the  practice  of  the  present  day,  in 
which  the  size  of  the  letters  on  a  title^'page  is  varied,  but  is  made  con-* 
sistent  with  the  importance  of  the  respective  words.  As  wiU  be  seen,  Tory 
was,  in  everything,  an  initiator. 

This  book  was  the  last  one  printed  by  Tory,  to  my  knowledge.  He 
probably  died  shortly  after,  for  we  find  that  his  wife  was  a  widow  on 
October  14  [1533],  when  she  executed  a  lease  for  nine  years  of  that  part 
of  the  Halle  de  Beauce  occupied  by  her  husband's  establishment.  This 
lease,  covering  the  whole  house,  was  made  in  consideration  of  122  livres 
10  sous  tournois.  The  lessors  were  agents  of  the  Chapitre  Notre/Dame, 
and  the  lessees,  'Martin  Feret,  baker,  and  Perrette  Le  HulLin,  widow  of 

I .  This  most  necessary  reform  spread  very  rapidly.  The  year  had  not  ended  when  another 
Paris  printer,  Antoine  Augereau,  published  a  small  treatise  on  the  subject,  entitled :  Briefve  doc- 
trine pour  deuement  escripre  selon  la  propriete  du  langaige franfoys.  [*  Brief  instructions  for  writ- 
ing the  French  language  properly.']  This  curious  work,  which  is  printed  with  the  Miroir  de  tres 
chrestienne princesse  Marguerite  de  France,  in  an  octavo  volume,  1533,  informs  us  among  other 
things  that  the  final  E  which  requires  the  acute  accent  was  at  that  time  called  masculine,  and 
that  the  word  feminine  was  applied  to  it  when  it  did  not  take  the  accent.  These  are,  as  we  see, 
the  terms  used  by  Tory.  Hence  doubtless  the  term  feminine,  which  is  still  applied  to-day,  in 
French  poetry,  to  silent  rhymes.  (See  Appendix  V.) 


38 


GEOFROY  TORY 


Geofroy  Tory,  in  his  lifetime  bookseller  and  king's  printer,  living  on  rue 
de  la  Juifverie  in  one  of  the  wings  [corps  d'hostel]  of  the  building  here^ 
inafter  mentioned'  (the  Halle  de  Beauce).' 

Perrette  Le  HuUin  continued  for  some  time  to  carry  on  her  husband's 
various  enterprises.  Thus,  she  published  in  1535  a  remarkable  work, 
doubtless  begun  by  him,  by  command  of  Fran9ois  I,  to  whom  it  is  dedi' 
cated.  It  certainly  should  be  placed  to  the  credit  of  Tory,  although  it 
does  not  bear  his  name,  but  simply  a  mention  of  his  sign: '  Au  Pot  Casse.' 
It  is  a  translation  of  Diodorus  Siculus,  of  which  I  shall  speak  later.^ 

But  the  burden  of  so  considerable  an  undertaking — printing-office, 
bookshop,  bindery ,3  engraving,  etc. — soon  compelled  Perrette  Le  HuUin 
to  abandon  a  part  of  it.  At  the  end  of  the  year  1535  she  transferred  the 
printing-office,  the  bookshop,  and  the  bindery  to  Olivier  Mallard,  who 
established  himself  on  the  same  premises  occupied  by  Tory,  and  under 
the  same  sign  of  the  Pot  Casse,  as  we  see  by  a  thin  volume  published 
by  him  on  January  19,  1535  (1536,  new  style),  entitled:  'Copie  d'une 
lettre  de  Constantinople,  de  la  victoire  du  grand  Sophy  contre  le  grand 
Turc. — Paris,  Olivier  Mallard,  a  I'enseigne  du  Pot  Casse,  rue  de  la  Juif' 
verie.'  Quarto,  of  4  leaves;  gothic  type.'^ 

Towards  the  end  of  1536,  Mallard  published  the '  Copie  de  I'arrest  du 
grand  conseil  donne  a  I'encontre  du  miserable  empoisonneur  de  mon^ 
seigneur  le  dauphin,'  etc.  An  octavo  sheet  printed  in  two  signatures.  On 
the  verso  of  the  title  begins  the  text  of  the  decree,  promulgated  at 
Lyon  Saturday,  October  7, 1536;  then  come  several  pieces  by  Jean  Henon 
and  'a  "dizain"  by  the  printer  hereof  in  sorrow  for  the  death  of  the  Dau^ 
phin':  ten  wretched  lines,  ending,  by  way  of  signature,  with  the  words 

1.  Jr chives  de  P Empire,  carton  S,  no.  18.  —  See  also  Les  Trois  Hots  de  la  Cite,  by  M. 
Adolphe  Berty,  p.  i  5. 

2.  See  Part  z,  §  iii,  no.  6. 

3 .  The  existence  of  Tory's  bindery  is  proved  by  the  numerous  bindings  with  the  Pot  Casse, 
not  only  of  books  from  that  artist's  presses,  to  which  I  have  already  referred,  but  of  books 
printed  by  others.  I  will  mention  particularly  a  lovely  book  of  Hours,  octavo,  on  vellum,  printed 
by  Herman  Hardoin  about  1527,  and  preserved  in  the  Bibliotheque  Nationale. 

4.  Olivier  Mallard  the  printer  was  probably  a  relative  of  Jean  Mallart  the  writer,  whose 
name  appears  about  the  same  time  in  the  accounts  of  Francois  I :  'To  Jehan  Mallart,  writer, 
for  writing  unes  heures  [a  book  of  Hours]  on  parchment,  presented  to  the  king  to  be  illumi- 
nated, xLv  livres  as  a  gift,  charged  upon  the  denier s  de  P espargne  a  P entour  du  roy.'  (From  a 
roll  not  dated,  but  circa  1538,  published  by  M.  de  Laborde,  Renaissance  des  Arts,  vol.  i,  p. 
924. )  These  Mallards  were  probably  of  Norman  origin,  for  there  were  about  the  same  time 
several  booksellers  of  that  name  at  Rouen.  One  of  them,  indeed,  Jean  Mallard,  had  the  Pot 
Casse  for  his  sign  in  i  542.  He  was  probably  a  brother  of  Olivier,  who  had  authorized  him  to 
adopt  that  symbol.  (See  Heures  a  I' usage  de  Rouen,  octavo,  gothic  type,  1542.)  I  am  in- 
debted for  this  information  to  the  learned  author  of  the  Manuel  du  Bibliophile  normand,  M.  Ed. 
Frere. 


BIOGRAPHY  39 

'tout  par  moien,'  of  which  I  have  been  unable  to  discover  the  anagram' 
matic  significance.  On  the  verso  of  the  last  leaf  we  read:  'All  booksellers 
and  printers  in  the  city  and  provostry  of  Paris  are  forbidden  to  print  or 
put  on  sale  this  present "  copie  "  v^dthin  three  months,  on  pain  of  confisca^ 
tion  thereof,  and  of  a  fine,  save  only  M.  O.  Mallard.  Given  at  Paris  this 
XVIII  October,  1536. — I.  Morin.' 

Thus  we  see  that,  even  if  Mallard  was  not  as  yet  king's  printer,  he  was  at 
least  the  official  printer.  I  cannot  give  the  exact  date  of  his  appointment 
as  king's  printer;  but  he  certainly  held  that  office  in  1537,  since  in  that 
year  he  published  a  little  octavo  volume  in  which  he  assumed  the  title.' 
The  book  is  entitled : '  De  judiciis  urinarum  tractatus  exprobatis  collectus 
authoribus,  etc. — Excudebat  O.  Mallardus,  bibliopola  ac  impressor  regius. 
— Anno  Domini  1537, 8  id.  Martii'  (March  8).^  He  also  published  in  that 
year,  in  the  same  capacity,  two  works  of  Jean  Gillot:^  'De  juridictione 
et  imperio  libri  duo,'  and  'Isagoge  in  juris  civilis  sanctionem'  (quarto), 
on  the  title-page  of  which,  below  the  Pot  Casse,  are  the  words: '  Vasnit 
O.  Mallardo,  regio  typographo  ac  librario,  sub  signo  Vasis  fracti.'"^ 

It  is  probable  that  Fran9ois  I  made  no  difficulty  about  accepting 
Tory's  successor  as  his  printer;  but  he  availed  himself  of  Tory's  death 
to  remodel  the  institution  of  king's  printers.  He  restricted  Mallard's 
functions  to  the  printing  of  French,  and  in  the  year  1538  appointed  two 
other  king's  printers,  one,  Conrad  Neobar,  for  Greek,  the  other,  Robert 
Estienne,  for  Latin  and  Hebrew,  as  an  essential  complement  to  the  'Col' 
lege  des  trois  langues,'  now  the  College  de  France,  which  he  had  recently 
founded.  We  have  not  the  document  which  conferred  upon  Robert 
Estienne  the  title  of  king's  printer;  but  we  have  proof  that  he  held  that 
title  in  1539.  Maittaire  declares,  upon  what  evidence  I  know  not,  that 
Robert  was  appointed  on  June  24  of  that  year.  I  am  of  the  opinion  that 
his  appointment  was  of  earlier  date,  that  is  to  say,  that  it  goes  back,  like 
Neobar 's,  to  1538,  or,  to  speak  more  accurately,  to  the  beginning  of 
1539.  In  fact,  we  find  him  assuming  the  title  of  king's  printer  ('typo' 
graphus  regius')  in  several  works  printed  by  him  during  that  year. 
Furthermore,  I  may  mention  the  fact  that,  in  a  most  interesting  edict 
concerning  the  printers  of  France,  dated  August  31,  1539,  the  king 

1.  It  was  this  publication,  no  doubt,  that  led  Papillon  to  say  that  Tory  died  in  1536. 
(  Traite  de  la  gravure  sur  hois,  vol.  i,  p.  509. ) 

2.  Bibliotheque  Nationale. 

3.  'Caussarum  in  suprema  Parisiorum  curia  patronus.'  This  mouth-filling  phrase  presumably 
means  avocat  in  the  Parliament  of  Paris. 

4.  Bibliotheque  Nationale. 


40 


GEOFROY  TORY 


already  refers  to  the  fact  that  he  has  'of  late  created  and  ordained — in 
order  to  have  a  copious  supply  of  useful  and  essential  books  —  royal 
printers  in  the  Latin,  Greek,  and  Hebrew  tongues.' ' 

We  have  not  the  letters  patent  of  Robert  Estienne,  but  we  are  more 
fortunate  in  respect  to  Neobar,  for  we  have  the  document  by  which  he 
was  created  king's  printer  for  Greek.''  This  curious  document,  which 
does  so  much  honour  to  Fran9ois  I,  well  deserves  to  win  oblivion  for  his 
unlucky  edict  of  proscription  against  printing,  rendered  January  13, 1535 
(new  style),  which  has  been  invoked  against  his  memory  several  times  in 
recent  years,  although  it  was  never  put  in  execution.  On  Neobar's  death 
in  1540,  Robert  Estienne  succeeded  him  as  king's  printer  for  Greek,  re-' 
taining  the  title  for  Latin  and  Hebrew. 

The  king's  fondness  for  the  classics  did  not  lead  him  to  neglect  the 
French  language:  in  1539  he  promulgated  a  celebrated  ordinance,  to  the 
effect  that  'henceforth  all  decrees,  etc.,  shall  be  pronounced,  recorded,  and 
delivered  to  the  parties  concerned,  in  the  mother  tongue.' 

In  154 1,  Olivier  Mallard,  who  had  acquired  all  of  Tory's  typographic 
paraphernalia,  published  a  book  of  Hours  of  the  Virgin,  in  Latin,  octavo, 
with  the  borders  'a  la  moderne'  to  which  I  referred  on  page  25.  It  is 
copied  doubtless  from  the  edition  put  forth  by  Tory  about  1530,  which 
I  have  never  been  fortunate  enough  to  see.  Of  the  edition  of  1541, 1  have 
seen  one  copy  on  vellum,  and  another  on  paper.  It  consists  of  23  octavo 
sheets  (signatures  A  to  Y),  and  has  on  the  tide^page:  'Horas  in  laudem 
beatissim.  Virginis  Maris  adusum  Romanum.'  (Pot  Casse)  'Parisiis,  apud 
Oliverium  Mallardum,  sub  signo  Vasis  effracti. —  1541.' 

In  the  following  year  Mallard  published  another  edition  of  the  Hours 
of  the  Virgin,  in  quarto,  Hke  the  one  issued  by  Tory  in  153 1. 1  shall  speak 
of  it  in  detail  in  its  place.^  Here  I  will  simply  say  that  the  book  was  fin' 
ished  in  the  month  of  August,  1 542. 

On  the  twenty  ^second  of  the  same  month.  Mallard  renewed  the  lease 
of  his  quarters  in  the  Halle  aux  Bles  de  Beauce,  which  lease  had  been 
given  nine  years  earlier  to  Tory's  widow  and  Martin  Feret,  at  a  rental  of 
122  livres  10  sous,  tournois.  The  rental  was  increased  for  Mallard,  who 
had  to  pay  130  livres,  plus  4  ecus  d'or  au  soleil  'for  the  time  of  the  said 
leasing.' Olivier  Mallard  did  not  long  enjoy  his  lease,  for  he  died  that 

1.  Crapelet,  Etudes  pratiques,  etc.,  p.  48. 

2.  In  Appendix  VI  will  be  found  [an  English  version  of]  M.  Crapelet's  [French]  trans- 
lation. I  have  given  the  original  text  in  my  work  on  the  Estiennes,  pp.  1 1  fF. 

3.  See  Part  3  (Iconography),  under  1541  and  1542. 

4.  The  rent  of  these  premises,  which  was  only  16  livres  in  1420,  and  22  in  1498,  was 


BIOGRAPHY 


41 


same  year.  His  last  printing,  according  to  La  Caille,  who  writes  the  name 
Maillard,'  was  a  translation  of  the  Dialogues  of  Plato,  by  Simon  de  Va/ 
lembert,  published  in  1542. 1  have  been  unable  to  find  this  book  in  Paris, 
but  I  have  seen  another,  probably  of  later  date,  at  the  bookshop  of  M. 
Techener ;  it  is  entitled:  ♦  Le  livre  de  Ange  Bologninus,  de  la  curation  des 
ulceres  exterieurs,  traduit  de  latin  en  francoys. — Paris,  au  Pot  Casse,  en 
limprimerie  de  Olivier  Mallard,  libraire  et  imprimeur  du  roy.  1542.'  It 
is  an  octavo  of  four  signatures.  As  the  license  is  dated  December  i,  this 
little  book  is  probably  the  last  one  printed  by  Mallard,  as  he  was  suc" 
ceeded  in  the  following  year,  as  king's  printer  for  French  works,  by  Denis 
Janot  (one  of  the  most  skilful  printers  in  Paris),  as  is  set  forth  in  the  let-* 
ters  patent,  which  will  be  found  in  Appendix  VII.  Appendix  VIII  con^ 
tains  a  complete  list  of  the  king's  printers  who  lived  in  Paris. 

Mallard's  typographical  apparatus  seems  to  have  been  acquired  by  Jean 
Kerver,  son  of  the  first  Thielman  Kerver,  living  on  rue  Saint  Jacques,^  at 
the  sign  of  the  Gril  ('  sub  signo  Gratis ') ,  who  printed  several  editions  of  the 
Hours  in  octavo,  with  the  borders '  a  la  moderne '  used  by  Mallard  in  1 5  4 1 . 
The  sign  of  the  Pot  Casse,  which  Kerver  did  not  need,  was  adopted  by  a 
bookseller  of  Chartres,  named  Richard  Gotereau,  who  seems  also  to  have 
bought  some  of  Tory's  woodcuts  representing  that  mark.  In  fact  I  have 
seen  one,  which  I  have  never  seen  on  any  of  Tory's  books,  in  a  book 
printed  in  Paris  for  Gotereau  by  Nicolas  Ghrestien;  it  is:  'Le  Goustumier 
de  la  baronnye,  chastellenie,  terre  et  seigneurie  de  Ghasteauneuf  en  Tym^ 
erays';  octavo,  1557.  The  title-page  is  an  engraving  of  the  Pot  Gasse,with 
the  design  reversed,^  like  that  of  the  title  of 'Ghamp  fleury,'  but  signed 
with  the  double  cross;  and  beneath  are  the  words:  'Pour  Richard  Cote-* 
reau,  libraire,  demeurant  a  Chartres,  en  la  grande  rue,  a  I'enseigne  du  Pot 
Casse.' 

Philippe  Gottereau,  evidently  the  son  of  Richard,  and  king's  printer 
at  Blois,  used  the  same  mark.  I  have  seen  it  on  a  small  book  printed  by 
him  in  1603:  'Reglement  pour  I'instruction  des  proces  qui  se  conduiront 
au  bailliage  et  siege  presidial  de  Bloys.'  Two  octavo  sheets. 

It  would  seem,  however,  that  the  sign  of  the  Pot  Casse,  which  remained 
for  some  time  longer  on  the  Halle  de  Beauce,  also  remained  on  the  house 
originally  occupied  by  Tory,  on  rue  Saint  Jacques,  for  we  find  a  printer 

raised  to  1 60  livres  in  1551,10  200  in  1567,  and  t0  4Ooin  1605.  ( Les  T '■ois  Hots  de  la  Cite, 
by  Adolphe  Berty,  p.  15).  It  seems  that  the  raising  of  rents  in  Paris  is  not  a  modern  invention, 

1.  Hist  aire  de  P  Imprimerie,  p.  1 10. 

2.  His  mother,  lolande  Bonhomme,  widow  of  Thielman  Kerver,  first  of  the  name,  also 
lived  on  rue  Saint- Jacques,  at  the  sign  of  the  Licorne  (  Unicornis') .     3 .  See  p.  47  infra,  no.  i  o. 


42  GEOFROY  TORY 

named  Michel  de  la  Guierche  living  at  that  sign.  See,  among  other  works, 
'M.  T.  Ciceronis  ad  M.  Brutum  Orat. — Paris,  apud  Mich,  de  la  Guierche, 
sub  signo  Vasis  effracti,  in  vico  Jacobeo.'  Quarto,  without  date,  but  with 
documents  of  1542  and  1 543.'  But  the  Pot  Casse  itself  does  not  figure  in 
his  books. 

Tory's  widow  seems  to  have  retained  his  engraving  establishment  for 
a  considerable  further  time.  Although  engrossed  by  her  numerous  under/ 
takings,  she  found  time  nevertheless  to  have  some  of  her  husband's  books 
reprinted,  and  among  others  the  'Sommaire  de  Chroniques  d'Egnasius,' 
in  1 54 1, 1543,  1544,  for  the  bookseller  Charles  L'Angeher,  and  'Champ 
fleury,'  in  1549,  for  the  bookseller  Gualtherot.  I  say  that  she  had  these 
books  reprinted,  but  I  ought  rather  to  say,  perhaps,  that  she  allowed  them 
to  be  reprinted,  for  there  is  nothing  to  suggest  her  cooperation  in  the 
work.  Literary  property  did  not  then  exist. 

In  the  new  edition  of  *  Champ  fleury,'  which  by  the  way  no  longer 
bears  that  graceful  title,  the  Pot  Casse  does  not  even  appear,  although 
the  explanation  of  the  mark  is  allowed  to  remain.  It  was  doubtless  a  book' 
seller's  speculation.^  However  that  may  be,  this  reprint  forms  an  octavo 
volume  of  160  leaves  (the  folio  has  80),  in  addition  to  the  preliminary 
matter,  of  which  there  are  1 6  leaves  (8  in  the  folio) ;  it  is  entitled: '  L'Art 
et  Science  de  la  vraye  proportion  des  Lettres  Attiques,  ou  Antiques,  autre/ 
ment  dictes  Romaines,  selon  le  corps  et  visaige  humain,  avec  I'instruction 
et  maniere  de  faire  chiffres  et  lettres  pour  bagues  d'or,  pour  tapisserie, 
vitres  et  painctures.  Item  de  treize  diverses  sortes  et  fa^ons  de  lettres; 
d'avantage  la  maniere  d'ordonner  la  langue  franfoise  par  certaine  regie 
de  parler  elegamment  en  bon  et  plus  sain  langage  fran^ois  que  par  cy 
devant,  avec  figures  a  ce  convenantes,  et  autres  choses  dignes  de  memoire, 
comme  on  pourra  veoir  par  la  table,  le  tout  invente  par  maistre  Geoffiroy 
Tory  de  Bourges.' 

I  have  copied  this  long  title  at  full  length  only  to  give  myself  an  op/ 
portunity  to  call  attention  to  the  progress  that  had  been  made  by  French 
typography  since  the  day  when  Geofroy  Tory  published  his  first  edition, 
and,  indeed,  as  a  result  of  that  same  publication.  We  find  here  the  accents, 
the  apostrophe  and  the  cedilla,  upon  the  absence  of  which  the  author  had 
commented  in  1529.  So  that  we  may  say  that  the  whole  grammatical 

1 .  Bibliotheque  Nationale. 

2,  In  the  preceding  year,  an  analogous  book  was  published  at  Rome,  under  this  title  :  Libra 
di  M.  Giovanbattista  Palatino,  cittadino  Romano,  nel quel  i'  insegna  a  scrivere  ogni  sorte  lettera, 
antica  et  moderna,  di  qualunque  natione,  con  le  sue  regole  et  misure,  et  essernpi:  et  con  un  breve 
et  util  discorso  de  le  cifre,  etc.  Quarto,  Rome,  1548;  with  i  5  plates. 


BIOGRAPHY  43 

portion  of  his  book  had  become  useless  as  a  direct  result  of  the  first  edition 
of  that  book.  This  is  a  fact  to  which  the  editors  of  the  second  edition  paid 
no  heed,  as  they  allowed  Tory's  observations  to  stand  as  they  were  writ/ 
ten,  while  introducing  into  their  text  the  novel  signs  I  have  just  men-' 
tioned.  For  instance,  they  repeat  that  c  has  two  sounds,  one  hard,  as  in 
•coquin,'  etc.,  the  other  soft,  as  in '  fran9ois,'  etc.  But  by  adding  the  cedilla 
in  the  last  word  they  destroy  the  sense  of  the  criticism  made  by  Tory 
in  1529.' 

It  does  not  appear  by  whom  the  book  was  printed;  we  learn  only  on 
the  last  leaf  that  it  was  finished  August  26,  1549,  'pour  Vivant  Gual^ 
therot,  libraire  jure  en  I'Universite  de  Paris,  en  la  rue  Saintjacques,  a 
I'enseigne  de  Saint  Martin.' 

In  order  to  adjust  Tory's  woodcuts  to  the  smaller  format,  they  were 
somewhat  mutilated;  indeed  some  of  them  were  omitted  altogether, 
among  the  number  those  representing  the  Pot  Casse,  which  probably 
remained  in  the  possession  of  Olivier  Mallard  or  his  successors,  and  which 
it  was  not  deemed  essential  to  have  engraved  anew  for  this  reprint,  for 
it  was  executed  as  cheaply  as  possible,  and  as  if  for  the  purpose  of  utilize 
ing  such  woodcuts  as  remained  at  the  disposal  of  Tory's  widow.''  The 
work  was  subjected  to  some  further  moc^cations  in  this  edition.  For 
instance,  all  dates  were  suppressed  in  the  preliminary  matter,  which  also 
was  arranged  in  a  different  order.  Even  the  license  granted  by  Francois  I 
was  omitted  as  having  become  useless;  but  no  change  was  made  in  the 
actual  arrangement  of  the  work,  nor  was  there  a  single  addition  or  emend" 
ation. 

Thus  Tory,  at  his  death,  was  able  to  flatter  himself  that  he  had  con-* 
tributed  materially  to  the  improvement  of  his  mother  tongue,  which  he 
loved  so  well.  He  died,  as  I  have  said,  in  1 533,  and  not  in  1 550,  as  is  erro/ 
neously  stated  in  a  poetical  epitaph  composed  nearly  a  century  after  our 
printer's  death,  by  liis  compatriot,  Nicolas  Catherinot,  at  the  request  and 
from  the  notes  of  Jean  Toubeau,  himself  a  printer  of  Bourges,  and  a  de" 
scendant  of  Tory,  through  his  mother. 

Here  is  the  epitaph,  as  given  by  La  Caille:^ — 

I  •  It  might  perhaps  be  interesting  to  publish  this  book  to-day  (it  is  now  very  rare),  scrupu- 
lously following  the  first  edition,  as  has  been  done  in  the  case  of  Palsgrave's  Lesclaircissement 
de  la  langue  francoise. 

2.  The  floriated  letters  engraved  by  Tory  which  appear  in  the  course  of  the  book,  and  of 
which  the  entire  alphabet  is  given  on  the  verso  of  folio  7  8  of  the  first  edition,  are  replaced  in 
the  second  by  letters  of  an  entirely  diiferent  make. 

3.  Histoire  de  I'  Imprimerie,  p.  99. 


44 


GEOFROY  TORY 


To  Geofroy  Tory, 
Born  at  Bourges, 
Educated  at  Paris, 
Accomplished  Scholar  in  both  Latin  and  Greek, 
Most  devoted  Lover  of  Letters, 
Very  expert  Printer 
And 
Learned  Author, 

Inasmuch  as  he  wrote  elegant  Distichs  on  the  Parts  of  the  House, 
Composed  some  humorous  Epitaphs  in  Latin  in  very  ancient  Style, 
Translated  Treatises  of  Xenophon,  Lucian,  and  Plutarch 

From  Greek  into  French, 
Taught  Philosophy  at  Paris  in  the  College  of  Burgundy, 
Was  the  first  Man  to  discuss  seriously  the  Art  of  Printing, 
Described  the  Forms  of  the  Letters,  or  Characters,  of  the  Alphabet, 
Taught  Garamond,  Chief  of  Engravers, 
Always  performed  the  Duties  of  a  good  Man  until  he  died 
In  the  Year  MDL:' 

At  the  Instance 
Of  Jean  Toubeau, 
Likewise  Printer  and  Author, 
Mayor, 
Alderman  of  Bourges, 
Ambassador  on  very  delicate  State^matters 

To  the  King  and  Council, 
Great^great'grandson  of  the  same  Tory, 
Heir  of  a  famous  Printing  Establishment, 
Nicolas  Catherinot,  noble  Citizen  of  Bourges, 
Counsellor  of  the  King,  and  Senator,  in  the  Metropolis  of  Bourges, 
From  his  tender  Years  uninterruptedly  to  the  present  Day 
Most  closely  associated  with  the  Business  of  Printing, 
Wrote  this  Epitaph,  hastily  and  rapidly,  at  the  End  of  November, 

MDCLXXXIV.^ 

I.  It  will  be  seen  that  I  apparently  had  most  excellent  grounds  for  saying  in  my  first  edi- 
tion that  Tory  lived  until  after  i  5  50.  Could  one  imagine  that  a  historian  of  Berry,  a  townsman 
of  Tory  and  friend  of  Jean  Toubeau,  could  blunder  so  stupidly  concerning  the  date  of  our  art- 
ist's death  ?  La  Caille  even  makes  him  live  until  the  close  of  the  sixteenth  century. 

z.  [For  the  Latin  original,  see  Appendix  X,/".] 


BIOGRAPHY 


45 


The  only  relic  that  we  have  of  Tory  to-day,  outside  of  his  books  and 
works  of  art,  is  a  volume  from  his  library,  as  his  signature  in  the  genitive 
case  indicates.  It  is  a  manuscript  on  vellum,  containing  the  orations  of 
Cicero  against  Verres,  in  Latin.  This  volume  was  acquired,  presumably 
after  Tory's  death,  by  his  patron  Jean  Grolier,  who  wrote  his  motto  at 
the  end  of  the  text:  *  Joannis  Grolierii  Lugdunensis  et  amicorum.'  From 
the  library  of  this  illustrious  bibliophile,  the  manuscript  passed  to  Colbert's 
library,  then  to  the  king's.  It  is  preserved  to-day  [1857]  in  the  Biblio' 
theque  Nationale.  We  give  below  a  facsimile  of  Tory's  signature,  which 
appears  on  the  first  flyleaf:  — 

Tory  made  use  of  ten  marks,  besides  the  Pot  Casse  that  appears  on 
his  bindings.  We  reproduce  them  all,  although  only  two  (nos.  5  and  10) 
are  signed.'  Some  of  them  were  used  by  other  booksellers  after  him,  as 
we  have  already  seen. 

No.  I  z 
This  mark  is  to  be  found  in  the  borders  of  the 
Hours(quarto)of  1527.  (See page37, supra.) 

No.  2 

This  form  of  the  Pot  Casse  appears  in  the  bor'- 
ders  of  the  Hours  (quarto)  of  1524- 1525, 
alike  in  the  copies  which  bear  the  imprint  of  Tory  and  in  those  printed 
by  Simon  de  Colines.  (See  page  37,  supra;  also  Part  2,  §  2,  no.  i,  infra.) 

3  No.  3  4 

This  variation  will  be  found  on 
the  first  page  of  those  copies  of 
the  Hours  (quarto)  of  1524- 1525 
which  bear  the  imprint  of  Tory. 
(See  Part  2,  §  2, no.  i  (2d  and  3d), 
infra.) 

No.  4  • 

This  appears  on  the  title-page  of 
'Champ  fleury.'  (Silvestre,  'Mar/ 
ques  Typographiques,'  no.  931.) 


I.  [Tory's  signature  referred  to  consists  in  the  double,  or  Lorraine,  cross  found  on  nos. 
5  and  10.] 


46 


GEOFROY  TORY 


No.  5 

This  appears  on  folio  43 
verso,  of 'Champ  fleury.' 
(Silvestre,  no.  803.) 
No.  6 

This  mark,  which  differs 
from  no.  5  only  in  the  ah-- 
sence  of  the  cross  of  Lor^ 
raine,  appears  on  the  last 
page  of 'Champ  fleury.'  I 
am  unable  to  suggest  any 
reason  for  the  removal  of 
the  cross.  (Silvestre,  no. 
171.) 

No.  7 

This  mark  is  found  only  at  the  end  of  the  little  poem  written  by  Tory 
on  the  death  of  his  daughter,  which  was  published  February  15,  1524, 
new  style.  We  have  already  referred  to  this  poem  on  page  15 ;  but  it  is 
reproduced  at  length  in  Part  2,  §  i,  no.  9, 


BIOGRAPHY 


47 


lO 


No.  8 

This  mark,  which  differs  from  the  preceding  only  in  the  omission  of  the 
little  figure  in  the  clouds,  appears  on  the  last  page  of  the  Hours  of  1524- 
1525  (those  copies  with  Tory's  imprint)  in  Latin.  (SOvestre,  no.  356.)' 
o  No.  9 

This  mark  appears  on  the  titlo'page  of  the  Hours 
(quarto)  of  1527.  It  was  used  by  Jean  Mallard, 
bookseller  at  Rouen,  1542.^  (Silvestre,  no.  604.) 

No.  ID 

I  have  never  as  yet  seen  this 
mark  in  any  book  of  Tory's; 
but  I  have  found  it  in  books 
published  by  Richard  Cote^ 
reau,  bookseller  at  Chartres, 
in  1557,  and  by  Philippe  Co^ 
tereau,  bookseller  at  Blois,  in 
1603.  (See  p.  41,  supra.)  The 
presence  of  the  Lorraine  cross 
is,  it  seems  to  me,  a  sufficient 
proof  that  it  should  be  attributed  to  Tory. 
(Silvestre,  no.  929.) 
We  have  already  observed  that  Tory  was  not  only  a  bookseller  and 
printer,  but  a  binder  as  weU.  To  complete  the  list  of  our  artist's  profess 
sional  acquirements  an  example  of  the  toolings  that  he  used  to  decorate 
the  covers  of  some  of  the  volumes  bound  by  him,  is  reproduced  [on  the 
cover  of  the  present  volume.^  The  reproduction  is  from  the  cover  ofa  copy 
of  the  works  of  Petrarch,  printed  at  Venice  in  1 525,  and  now  preserved 
in  the  Library  of the  British  Museum .  ]  The  Pot  Casse ,  in  its  simplest  form, 
appears  among  the  arabesques  of  this  binding.  Tory  had  also  had  engraved 
a  larger  plate  of  the  same,  for  use  on  the  binding  of  quartos,  or,  rather, 
of  folios.  The  design  is  almost  identical.  Sometimes  the  Pot  Casse  is  ac/ 
companied  by  the  drill.  This  design  appears  on  a  copy  of  Macault's  trans^ 
lation  of  Diodorus  Siculus,  printed  as  late  as  1536, 'au  Pot  Casse.'  This 
beautiful  volume,  in  M.  Didot's  magnificent  library,  is  sufficient  proof 
that  Tory's  widow  continued  his  various  industries  for  a  considerable  time. 

It  is  hardly  necessary  to  say  that  the  same  tools  could,  with  some  slight 
additions,  be  used  in  binding  volumes  of  all  sizes,  from  the  octavo  up. 

1 .  See  Part  2,  §11,  no.  2(2).  2.  See  p.  38,  note  4,  supra. 

3.  One  of  our  most  skilful  binders,  M.  Cape,  used  this  design  in  his  bindings.  An  example 
may  be  seen  on  a  copy  of  the  Hours  (quarto)  of  1 527  in  the  Bibliotheque  Nationale. 


IN  the  first  part  of  this  vol^ 
ume  I  have  made  cursory 
mention  of  some  of  the  books 
published  by  Tory,  and  espe'' 
cially  of  those  which  may  be 
said  to  offer  some  biography 
ical  information ;  in  this  part 
I  propose  to  describe  in  de/ 
tail  all  the  books  to  which  he 
put  his  name  in  any  capacity, 
and  of  which  we  of  to-day 
have  knowledge.  To  make 
my  description  clearer  I  shall 
divide  these  books  into  four 
sections,  the  titles  of  which 
will  explain  themselves. 


O  M  NI  S  T  A  Ns 
DEM  MARCE: 
SCIT  FLOS. 


SECTION  I. 


WORKS  WRITTEN  OR  ANNOTATED  BY  TORY. 

I 

PoMPONius  Mela,  De  totius  orbis  descriptione.  Author  lucu' 

LENTISSIMUS,  NUNQUAM  ANTEA  CITRA  MONTES  IMPRESSUS/  (Mark 

of  Jehan  Petit.)  ^ 

QUARTO,  of  45  numbered  leaves,  plus  1 1  leaves  of  index ;  in  all,  56 
leaves,  or  14  sheets,  arranged  in  9  signatures  of  two  sheets  and  one, 
alternately.  Signatures  a,  c,  e, g,  and  /  have  two  sheets  [ 1 6  pages]  each;  sig^ 
natures    c/,f,  h,  one  sheet  [8  pages]  each. 

The  whole  book  is  printed  in  roman  type,  except  the  first  line  of  the 
title-page,  which  is  gothic,  and  a  few  Greek  words  here  and  there. 

As  we  have  seen,  this  book  was  for  sale  by  Jean  Petit,  but  it  was  printed 
by  Gilles  de  Gourmont,  solely  because  of  the  Greek  words  just  mentioned. 
So  Tory  himself  tells  us  in  a  note  at  the  end  of  the  text,  folio  45 : '  Curavi 
siquidem  accuratissimo  impressori  dare,  qui  etiam  primus  apud  Parisios 
gr^is  caracteribus  lotissimas  addidit  manus.'  ^ 

On  the  verso  of  the  first  leaf  is  a  letter  of  the  publisher,  Geofroy  Tory, 
to  his  friend  Babou,  thus  conceived:  — 

1 .  It  goes  without  saying  that  in  the  numerous  quotations  which  I  shall  make  from  these 
books  I  shall  do  away  with  abbreviations  and  supply  punctuation.  To  do  otherwise  would  be 
to  give  the  reader  of  to-day,  who  is  unfamiliar  with  the  tachygraphy  of  the  Middle  Ages,  simply 
a  succession  of  undecipherable  puzzles.  It  is  a  difficult  task  to  restore  the  Latin  texts  according 
to  the  first  impressions.  I  have  taken  it  upon  myself,  so  that  the  reader  may  have  the  pleasure 
of  reading  without  difficulty.  What  I  have  said  must  be  my  apology  for  such  errors  as  I  may 
have  made  in  my  work  of  restoration. 

2.  Bibliotheque  Mazarine. 

3.  Gilles  de  Gourmont  was  in  fact  the  first  printer  in  Paris  who  had  Greek  type.  See  my 
Les  Estienne,  pp.  62,67. 


Geofroy  Tory  of  Bourges  to  Philibert  Babou,  citizen  of  Bourges,  very 
deserving  treasurer  and  valeUde^chambre  of  the  most  serene  king  of 
the  French y  humblest  greeting. 

On  looking  recently  into  Pomponius  Mela,  most  illustrious  Philibert, 
Mela  who  is  the  most  trustworthy  of  the  writers  on  geography,  I  found 
him  so  corrupt  and  so  badly  mutilated  that 
— Lo,  before  my  eyes,  in  saddest  plight, 

The  author  seemed  to  stand  and  burst  in  tears.'  Virg.  jEn.  ii. 

Lo,  I  say, 

All  black  with  dust  and  blood, — ah,  sad,  sad  sight, — 
By  two/horse  chariot  dragged,  his  swollen  feet 
Torn  through  with  thongs  .  .  . 

How  from  the  bottom  of  his  heart  he  groaned.  Id.  ibid. 

In  such  words  as  these  did  he  seem  to  complain:  Am  I,  then,  who  de^ 
scribed  so  elegantly  all  those  many  lands,  those  many  peoples,  those 
islands,  rivers,  straits,  seas,  and  whirlpools,  I  who  ventured  so  confidently 
upon  the  description  of  the  whole  world,  am  I  to  remain  thus  maimed, 
thus  mutilated,  thus  disfigured? 

— Ah  me,  how  hacked  am  I, 

How  like  that  Hector  who  erstwhile  brought  back 

...  his  squalid  .  .  .  locks 

I .  I  have  arranged  these  verses  in  lines,  although  in  the  book  the  lines  are  indicated  simply 
by  capital  letters;  and  I  warn  the  reader  that  several  wfords  were  changed  by  Tory  in  order  to 
adapt  the  verses  to  his  subject.  [The  changes  are  in  fact  considerable,  especially  in  the  third  pas- 
sage, which  is  made  up  of  parts  of  five  lines,  with  several  changes,  one  of  which  results  in  an 
entire  reversal  of  the  meaning.  The  English  versions  of  these  passages  are  adapted  from  Long's 
translation  of  the  jEneid.  For  the  Latin  original,  see  Appendix  X, 


52  GEOFROY  TORY 

All  stiff  with  blood,  and  many  a  wound  he  got 

About  his  country's  walls.  id.  ibid. 

Unless  some  helping  hand  be  stretched  forth,  I  shall  soon  surely  die. 

In  time  Machaon  healed  the  loathsome  limbs  of  Philoctetes, 
And  Phillyreian  Chiron  gave  to  blinded  Phoenix  sight; 

The  god  of  Epidaurus,  at  a  father's  fond  entreaties, 

By  Cretan  herbs  Androgeos  brought  again  to  realms  of  light.' 

But  verily  I  believe  that 

He  who'll  cure  this  pain  of  mine  is  certain  of  succeeding 

In  giving  Tantalus  the  fruit  that  cheats  his  eager  palm. 
Yea,  he  the  pierced  pails  may  fill,  and  heavy  burden  lighten, 

The  slender  Danaids  endure,  with  ceaseless  toil  opprest; 
From  the  bleak  cliff  of  Caucasus  unchain  the  fettered  Titan, 

And  scare  away  the  bird  of  prey  that  tears  his  mangled  breast.' 

I  naturally  said  to  myself  on  the  spot :  If  I  were  Machaon,  or  Chyron,  or 
yEsculapius,  I  should  be  glad  to  remedy  this  matter.  But  what  if  I  were 
to  make  such  slight  effort  as  I  can?  Might  I  not  be  able  to  be  of  service? 
Perhaps;  at  least,  I  should  have  tried,  and  I  should  have  had  this  object 
in  view :  to  make  him  somewhat  more  free  from  faults. 

And  if  my  powers  of  song  should  fail — to  dare  were  surely  fame: 
Enough  that  I  have  had  the  will;  no  higher  praise  I  claim. 

Proper,  ii,  ad  Musam  (^ad  Augustum?). 

I  have  accordingly  added  a  very  few  annotations;  provided  with  which, 
under  the  protection  of  your  name  (for  you  are  a  devoted  admirer  of 
letters  and  lettered  men),  under,  as  the  saying  is,  favourable  auspices,  let 
Pomponius  Mela  now  go  forth  in  greater  security  than  before.  Farewell. 
Paris,  vj  no.  Decemb.  mcccccvii.^ 

At  the  end  of  the  text,  on  folio  xlv,  we  find  the  following :  ^  — 
Here,  then,  you  have,  most  illustrious  Philibert,  Pomponius  Mela, 
purged  of  the  many  errors  in  which  he  abounded.  I  took  the  trouble  to 
put  him  in  the  hands  of  a  very  careful  printer,  one  who  was,  besides,  the 

1.  Proper,  ii,  ad  Macenatem.  [The  translations  from  Propertius  are  those  of  Cranstoun.] 

2 .  Doubtless  we  should  read  •  iv  no. '  for  there  was  no  sixth  of  the  nones  of  December.  The 
fourth  of  the  nones  fell  on  Dec.  2.  But  perhaps  we  should  read  'vj  id.';  the  sixth  of  the  ides 
of  December  fell  on  Dec.  8. 

3.  [For  the  Latin  original,  sec  Appendix  X,  h.'\ 


BIBLIOGRAPHY  53 

first  Parisian  to  give  to  the  Greek  characters  a  form  of  superior  elegance. 
I  have  been  pleased  to  revise  the  text  with  special  care  and  to  add  a  very 
few  annotations,  so  that,  when  it  should  come  into  your  hands,  and  later 
on  into  the  hands  of  the  public,  it  might  come  in  a  more  polished  and 
finished  form.  You,  now,  with  Mela  in  hand,  may,  Kke  Phiclus,  who,  as 
the  story  goes,  ran  over  the  tops  of  the  grain/^elds  without  breaking  the 
ears,  traverse  and  re^raverse,  not  only  in  security,  but  confidently  and 
resolutely,  the  whole  world.  If  you  wish  to  lay  hold  of  tigers,  swiftest  of 
animals,  and  to  see  from  a  safe  vantage  the  catoblepas,  if  you  wish  to 
meet  dragons  and  wild  beasts.  Satyrs,  Pans,  and  Silvani,  if  you  wish  to  see 
the  Indians, '  the  Britons,  separated  by  a  world  between,'  the  Sauromatae, 
the  Africans,  and  all  the  peoples  that  lie  between  these,  and  learn  of 
their  wonderful  habits,  then  take  but  this  world,  I  mean  Pomponius, 
many  times  in  hand,  and  without  doubt  you  will  there  be  able  to  see 
and  to  know  them  all  as  in  no  other  way.  Farewell  and  forget  not  yours 
ever  faithfully. 

Paris,  24  December. 

civis. 

To  Pomponius  Mela. 
Mela,  the  many  errors  in  which  you  abounded  have  been  cast  forth ; 
few  are  the  faults  that  remain  with  you.  Better  far  and  more  perfect  in 
form  do  you  stand  forth  now  than  formerly  you  did.  This  is  the  accom^ 
plishment  of  my  small  hand. 

To  Philibert  Babou. 
That  my  life  for  many  years  has  been  due  to  you,  these  two  short 
verses,  Philibert,  now  testify.  Whatever  'alpha'  belonged  to  me  in  my 
tender  years,  that  your  happy  'omega'  wished  to  bear. 

CIVIS. 

At  the  end  of  the  index,  on  the  verso  of  the  penultimate  sheet,  is  a 
list  of  errata  beginning  thus:  — 

^  'Since  nothing  is  more  difficult  than  to  be  wholly  free  from  error,  it 
seems  quite  proper  that  I  should,  with  the  kind  consent  of  the  reader,  con/ 
sider  a  very  few  of  the  very  few  mistakes  of  this  book:  thus,  for  example, 
where  "potuit"  is  found  in  the  epistle,  "possit"  should  be  written.' 

I .  [For  the  Latin  original,  see  Appendix  X,  /.] 


54 


GEOFROY  TORY 


This  list  also  is  signed  *  civis.'  Beneath  it  is  a  short  poem  entitled : 
'  Carolus  Rousseus  ad  lectorem  tetrastichon.'  And  on  the  recto  of  the  last 
leaf:  'In  the  year  of  the  incarnation  and  of  our  salvation,  1507,  the  tenth 
day  of  January,'  this  work  was  printed  by  Gilles  de  Gourmont,  and  was 
very  carefully  revised  by  Tory  of  Bourges,  at  Paris.'  (Mark  of  Gilles  de 
Gourmont.) 

2 

COSMOGRAPHIA  PlI  PaP^  IN  Asi^  ET  EUROP^  ELEGANTI  DESCRIP/ 

TiONE,  etc.  Paris,  Henri  Estienne  [1509]. 

Quarto,  of  152  leaves  of  text,  preceded  by  12  unnumbered  leaves  and 
a  folio  cut  representing  the  ancient  world.  On  the  second  preliminary 
leaf  is  Tory's  dedicatory  epistle  to  Germain  de  Gannay,  thus  conceived: 

To  the  reverend  Father  and  Lord  in  Christ,  Germain  de  Gannay, 
bishop^elect  of  Cahors,  Geofroy  Tory  of  Bourges  proffers  most  humf 
ble  greeting."^ 

I  here  present,  most  excellent  prelate,  in  more  accurate  and  emended 
form  than  that  in  which  he  has  hitherto  been  read,  Pope  Pius,  an  author 
who,  in  his  Description  of  Asia  and  Europe,  is  much  to  be  admired  both 
for  the  dignity  and  for  the  singular  worth  of  his  work.  In  looking  for  some 
one  to  whom  he,  in  behalf  of  his  book,  freshly  issuiag  from  the  printing/ 
office,  might  straightway  most  devotedly  offer  his  respects,  some  one 
select,  devoted  to  letters,  and  possessed  of  the  highest  virtue,  I  could  think 
of  no  one  more  to  be  desired,  more  worthy  than  you.  That  the  Supreme 
Pontiff  himself  should  go  to  visit  you,  a  most  venerable  bishop,  seemed  to 
me  a  thing  not  without  humour.  That  he,  I  say,  who  was  a  meritorious 
writer  of  geography,  and,  as  you  will  be  able  to  see,  of  history  well  deserve 
ing  to  be  read,  should  come  and  embrace  you,  lover  and  cultivator  of  every 
form  of  polite  literature,  I  thought  a  thing  very  appropriate.  It  was  like 
setting  the  gem  to  the  gold,  or  the '  encaustum,'  that  is  picture  drawn  with 
fire,  to  the  silver,  it  was  like  conferring  the  palm  upon  the  victor ;  and  that 
most  certainly  is  nothing  other  than  to  join  the  good  to  the  good,  the  glori/ 
ous  to  the  glorious,  the  deserving  to  the  deserving.  But  along  with  these 
reasons  there  is  still  another  reason  why  to  you  of  all  persons  this  most 
illustrious  work  should  very  properly  be  dedicated:  it  was  at  your  instance 
and  suggestion  that  I  divided  the  work  into  chapters  and  gave  to  its  parts 

1.  Jan.  10,  I  508,  new  style. 

2.  [For  the  Latin  original,  see  Appendix  X,y.] 


BIBLIOGRAPHY 


55 


a  more  convenient  arrangement.  That  you  first,  and  then  that  all  other 
students andreaders,may,aswasyour  wish, findandremember  the  parts 
of  the  earth,  which  are  many  in  number,  and  the  things  in  them  that  are 
interesting  to  know  about,  more  easily  and  conveniently,  I  have  divided 
the  book  thus :  the  names  of  rivers,  towns,  places,  rulers,  and  other  inv 
portant  matters  I  have  put  in  separate  chapters  and  marked  with  mar-* 
ginal  captions ;  these  names  are  also  all  to  be  found,  provided  with  num^ 
bers,  in  the  index.  This  little  work  of  mine,  therefore,  I  dedicate  to  you, 
my  lord,  in  deepest  reverence  and  with  sincere  feeling.  It  is  certainly 
far  from  being  what  I  should  offer  to  so  reverend  a  father,  but  you, 
whose  goodness  and  integrity,  which  are  perfectly  evident  to  me,  all 
praise  in  the  highest  terms,  will,  if  it  so  please  you,  take  the  book  into 
your  most  pure  hands  and  bestow  upon  it  the  favour  which  you  are  ac 
customed  to  bestow  upon  works  of  this  kind.  Farewell, 
Paris,  at  the  College  of  Plessis,  2  Oct.,  a.d.  1509. 

Next  comes  a '  table,'  which  fills  eleven  leaves,  on  the  verso  of  the  last 
of  which  we  find  the  following  note  to  the  reader :  — 

Geofroy  Tory  of  Bourges  to  the  Reader.^ 
You  will  find  the  words  'eruere,  contendere,  misf  re,'  and  many  others 
of  the  same  sort,  written  with  an  e  in  the  penult :  this  was  done  in  order 
that  the  perfect  indicative,  which  regularly  has  a  long  penult,  might 
show  its  quantity  (which  you  are  to  utter  in  reading),  as  distinguished 
from  that  of  the  present  and  past  imperfect  infinitive,  which  in  the  third 
conjugation  always  shortens  its  penult.  It  is  with  pleasure  that  I  have 
imitated  and  adopted  the  very  elegant  and  finished  formof writing  which 
is  used  in  the  'PsalteriumQuincuplex,'^  recently  published.  You  will  also, 
though  rarely,  find  this  q  used,  after  the  fashion  of  certain  authors,  for  ce 

1 .  [For  the  Latin  original,  see  Appendix  X,  k."] 

2.  Following  the  course  pursued  in  the  Psalterium  ^incuplex,  published  shortly  before  by 
Henri  Estienne,  Tory  proposed  to  write  with  a  cedilla  the  last  e  but  one  of  the  third  person 
plural  of  the  perfect  tense  of  verbs  of  the  third  conjugation  (^emere,  contendere,  etc. ),  to  distin- 
guish it  from  the  infinitive.  In  our  day  the  circumflex  accent  has  been  adopted  for  this  purpose; 
but  accented  letters  did  not  exist  in  Tory's  time,  and  he  sought  to  utilise,  in  the  interest  of  the 
metre,  the  only  distinctive  sign  at  the  disposal  of  typography,  the  e  with  the  cedilla,  which  was 
then  generally  used  for  a,  in  imitation  of  the  manuscripts  of  the  Middle  Ages.  Tory  also  pro- 
posed to  spell  with  s,  instead  of  x,  certain  words  like  mixtum  ;  <  for,'  he  said,  '  mis  ceo  has 
miscui'm  the  perfect;  and  so,  by  analogy,  we  must  say  mis  turn.' 

I  will  not  comment  here  on  some  other  observations  of  the  same  sort  made  by  Tory  in  this 
same  note  to  the  reader;  I  will  say  simply  that  they  all  tend  to  prove  his  erudition  and  peremp- 
torily contradict  the  extraordinary  assertion  of  a  certain  Abbe  Joly,  who,  in  a  huge  folio,  en- 
titled Remarques  critiques  sur  le  Dictionnaire  de  Bayle,  and  published  in  1740,  observes  that 
Tory  was «  very  ignorant,'  without  adducing  a  single  fact  in  support  of  his  opinion.  In  the 


56 


GEOFROY  TORY 


in  some  words,  and  similarly  at  times  in  the  genitive  and  dative  singular, 
and  in  the  nominative  and  vocative  plural,  of  the  first  declension.  I  have 
furthermore  written  designedly  'mistum'  with  an  j-  instead  of  an  x, — 
for  'misceo'  makes  its  perfect  'miscui,'  whence  by  analogy  'mistum,' 
— 'intellego,'  'toties,'  'quoties,'  'litus,'  'opidum,'  'litera,'  'tralatum,'  'ali^ 
quando,'  and  other  similar  forms,  which  are  to  be  written  according  to 
6p6oypa<f)La,  that  is  to  say,  correct  spelling.  The  word  'Turca'  also,  which 
many  make  in  the  second  declension,  I  have  written  in  the  first.  I  follow 
herein  with  approval  Michael  Tarchaniota  Marulus  of  Constantinople  in 
his  lines  addressed  to  Charles,  King  of  France.  These  are  his  words: '  Invin^ 
cible  king,  scion  of  the  race  of  Charles  the  Great,  whom  the  holy  prophet 
cies  of  so  many  men,  of  so  many  gods,  demand  as  the  vindicator  of  fallen 
justice  and  loyalty ;  whom  here  the  sad  Ausonian  land,  there  Greece  with 
streaming  locks,  calls,  and  whate'er  of  Asia  and  wealthy  Syria  the  cruel 
Turk  profanes,'  etc. 

In  writing  the  accusatives '  plureis,' '  parteis,' '  omneis/ '  monteis/  in '  eis* 
I  have  believed  that  I  was  writing  good  grammar  and  good  Latin,  follow^ 
ing  therein  Priscian,  book  7,  the  chapter  on  the  accusative  plural  of  the 
third  declension.  This  form  is  valuable  for  distinguishing  the  accusative 
from  the  nominative,  and  has  been  used  by  a  thousand  authors,  of  which 
great  number  it  is  sufficient  at  present  to  cite  as  witnesses  Sallust,  Virgil, 
and  Plautus.  Sallust,  who  used  the  first  word  also,  says  in  the  Catilinarian 
War:  'Omneis  homines  qui  sese,'  etc.  Virgil  in  the  first  JEntid:  'Hie 

fessas  non  vincula  naveis  Ulla  tenent  '  Plautus  in  the  Aulularia:  'Quid 

est?  quid  ridetis  novi  omneis,  scio  fures  hie  esse  complureis.'  I  have  been 
pleased  to  make  this  explanation,  good  reader,  so  that  you  not  only  might 
know  what  pure  speech  is,  but  also,  both  in  reading  and  in  speaking, 
might  have  pleasantly  at  hand,  like  finger-posts,  and  might  use,  pure 
words.  Farewell.  civis. 

On  folio  152,  after  the  errata,  we  read:  'Impressa  est  haec  Asiae  et 
Europe  quam  elegantissima  historia  per  Henricum  Stephanum,  im^ 

Menagiana  (vol.  iv,  p.  84  of  the  i2mo  edition  of  1729)  Tory  is  rebuked,  to  be  sure,  for 
forging  Latin  words,  after  the  example  of  the  author  of  the  Songe  du  Poliphile ;  but  this  is  a 
less  serious  charge,  and  is  not  a  proof  of  ignorance ;  on  the  contrary  it  proves  misuse  of  know- 
ledge. Geofroy  Tory,  says  the  author,  attracted  by  the  style  of  the  Poliphile,  composed  seven 
epitaphs  filled  with  words  most  worthy  of  a  place  in  that  work,  •  such  as  murmur illare,  insati- 
anter,  hilaranter,  pederaptiniy  velocipediter,  eegrimoniosius,  avicipes,  conspergitare,  venustu- 
letitissus,  vinulentibibulus,  apneumaticus,  and  collifrangibulum,  which  he  represented  as 
ancient  words,  and  which  the  excellent  Catherinot,  in  his  epitaph  of  this  same  Tory,  did  not 
fail  to  guarantee  to  be  such.' — See  what  Catherinot  has  to  say  of  Tory's  Epitaphs  in  his  epi- 
taph of  Tory,  p.  44  supra.  \_Tumulos  aliquot  ludicros  vet  err  into  stylo  latine  condiderit.'^ 


BIBLIOGRAPHY 


57 


pressorem  diligentissimum,  Parrhisiis,  e  regione  scholas  decretomm, 
sumptibus  eiusdem  Henrici  et  loannis  Hongonti,'  vi  idus  Octobris  anno 
Domini  m.  d.  ix/ 

3 

De  Passione  Dominica  carmen  elegiacum  Guilielmi  Divitis,  civis 
Gandavensis,  artificios^  pietatis  plenissimum. — Item.  Nenia 
Lactantii  Firmiani  verbis  Salvatoris  nostri  e  cruce. —  Mark 
of  Josse  Bade  ('Prelum  ascensianum').^ 

One  octavo  sheet,  printed  by  Josse  Bade,  dated  the  5th  of  the  Ides  of 
March,  1509;  that  is  to  say,  March  11,  15 10,  new  style.* 

On  the  verso  of  the  title^'page  is  this  letter  from  Hervenis  de  Berna 
(of  Saint^Amand'Montrond)  to  the  young  people  of  Bourges: — 

Herverus  de  Berna  of  Amand  to  the  youth  of  Bourges^  greeting} 

You  are  acquainted  with  Dives,  our  teacher,  famed  for  his  wisdom, 
a  foster/child  of  the  Muses,  who  well  deserves  your  gratitude.  He  it  is 
who  introduced  you  to  the  Muses,  Helicon,  Phoebus'  grove,  and  Mer^ 
cury,  and  from  his  school,  as  from  the  Trojan  horse,  have  issued  men  of 
education  without  number.  His  heart  is  in  the  Muses'  glorious  service, 
and  his  memory,  it  seems  to  me,  should  be  forever  honoured  and  kept 
green.  He  is  reported,  as  the  saying  is,  to  have  toiled  not  only  by  the  lamp 
of  Aristophanes,  but  by  that  of  Cleanthes  as  well.^  You  do  not  doubt  that 
he  is  deserving  of  praise  for  the  elegance  of  his  song;  whence  it  happens 
that  there  is  a  religious  poem  of  his  written  on  the  Passion  of  Our  Lord, 
— a  poem  of  such  brilliancy,  such  sweetness,  such  ornateness,  that  one 
could  believe  it  to  be  the  work  of  the  divine,  rather  than  of  a  human, 
mind.  I  do  not  doubt  that,  as  a  result  of  this  fact,  the  same  thing  will  fall 
to  his  lot  that  usually  falls  to  the  lot  of  literary  men:  as  Claudian  says, 
•His  presence  will  diminish  his  fame.'  ^  Not,  however,  without  Theseus,^ 

1.  This  is  the  correct  reading,  not  Hongoti,  which  M.  Renouard mistakenly  adopts  {^Ann. 
des  Estienne,  3d  ed.,  p.  6,  zd  col.,  no.  3  ;  and  p.  276),  having  failed  to  notice  the  line  over 
the  0  in  the  second  syllable  of  the  word.  However,  this  is  the  only  place  in  which  this  Jean 
Hongont  is  mentioned,  and  nothing  is  known  of  him  save  that  he  was  associated  with  the  first 
Henri  Estienne  in  the  publication  of  this  edition  of  the  Cosmography  of  Pope  Pius  II,  other- 
wise called  ^neas  Sylvius,  edited  by  Tory.  This  book  is  in  the  Bibliotheque  Mazarine. 

2.  October  10,  1509,  3.  See  infra,  Part  3 ,§  iii,  /zffOT/;?^' Bade. 
4.  Bibliotheque  Mazarine.  5.  [For  Latin  original,  see  Appendix  X, /.] 

6.  As  to  this  adage,  see  the  Collection  of  Erasmus  (folio,  Basle,  1574),  p.  302:  Aristo- 
phanis  et  Cleantis  lucerna. 

7.  Claudian,  xv,  385:  Minuit pr essentia famam. 

8.  As  to  this  adage,  see  the  Collection  of  Erasmus,  ubi  sup.,  p.  1 34  a :  Non  absque  Theseo. 


58 


GEOFROY  TORY 


that  is  Tory  of  Bourges,  my  fellow^student,  a  man  of  the  old,  and,  as  Plau^ 
tus  says,  of  the  Massilian,  school,'  one  who  combines  sound  learning  with 
virtue,  have  I  wished  Dives  to  issue  forth  into  the  world;  again,  I  hope, 
with  favourable  auspices,  as  the  saying  is.  Farewell,  with  best  wishes. 
From  my  house  at  Amand,  i  March. 

Then  follows  the  elegy  by  Wilhelm  de  Ricke,  which  has  140  verses 
and  occupies  4  leaves;  on  the  verso  of  the  last  of  the  four  is  this  dialogue 
in  verse  by  Tory:  — 

Dialogue  by  Geofroy  Tory  of  Bourges  in  praise  of  his  teacher^ 
Wilhelm  de  Ricke  of  Ghent."- 
Speakers:  Monitor  and  Liber. 

M.  Sacred  book,  who  in  song  mourn  Christ's  Passion,  now  speak: 
whose  holy  work  can  you  be  ? 

L.  Whose  work?  Behold !  Rich's  work  am  I. 

M.  Well  done!  That  Rich  who  to  the  people  of  Bourges  has  given 
so  many  rich  examples  ? 

L.  You  judge  rightly. 

M.  Rich  truly  has  a  wise  heart. 

L.  No  fitter  name  than  this  can  be  given  him. 

M.  He  it  is  who  taught  the  people  of  Bourges  to  speak  with  flowery 
tongue  and  to  make  facile  verses  with  the  mouth. 

L.  He  not  only  taught  them  to  speak  and  to  weave  song,  but  he  also 
gave  them  the  power  to  see  Christ's  wounded  body. 

M.  If  one  wished  to  see  the  arms  of  God  fixed  to  the  cross,  could 
even  Rich  grant  him  that  to  the  life  ? 

L.  Should  you  desire  to  carry  the  cross  of  God,  his  cruel  wounds,  the 
crown,  hold  me  in  hand,  you  will  carry  all. 

M.  May  Rich's  every  prayer  be  ever  happily  granted,  such  good  he 
grants  to  pious  hearts. 

L.  May  he  live  and  continue  on  earth  through  Nestorian  years,  and 
after  death  gain  the  rich  kingdom  of  Heaven. 

CIVIS. 

The  little  book  comes  to  an  end  with  the  poem  by  Lactantius  men^ 
tioned  on  the  title^'page.  It  fills  the  third  and  second  last  leaves,  and  the 

1 .  Plautus,  Casinus,  Act  V,  4,  i  :  Ubi  tu  es,  qui  colere  mores  Massilienseis postulas. 

2.  [For  the  Latin  original,  see  Appendix  X,  /w.] 


BIBLIOGRAPHY  59 

recto  of  the  last,  at  the  foot  of  which  we  read:  'Finis.  Ex  sdibus  Ascen/ 
sianis  ad  v  idus  martias  mdix.'  This  date  corresponds  with  March  1 1, 
15 10,  new  style. 

M.  Jules  de  Saint'-Genois,  librarian  of  the  University  of  Ghent,  writes 
me  as  follows  concerning  his  fellowtownsman,  the  author  of  the  verses 
on  the  Passion: — 

'  The  name  of  the  person  in  whom  you  are  interested  was  not  le  Riche, 
but  de  Rycke,  in  Flemish,  which  in  the  Latin  rendering  becomes  Dives. 
This  is  what  Sanderus  says  of  him  in  "  Flandria  lUustrata,"  i,  386  (edition 
Hags-'Comitis,  1735):  "Gulielmus  Dives,  vulgo  de  Rycke,  Gandavensis 
poeta:  ejus  exstat  *  Carmen  elegiacum  de  Passione  Dominica,'  artificiosae 
pietatis  plenissimum,  quod  inter  illustrium  poetarum  opera  impressit 
Judocus  Badius  Ascensius  Parisiis." 

'  Valere  Andre,  too,  devotes  a  few  lines  to  him  in  his  "Bibliotheca  Bel-' 
gica"  (Lovanii,  1623, p.  344):  "Elegiamde Passione  Dominica  edidit  Ant^ 
verpiae  cum  Dominici  Mancini,  Phil.  Beroaldi  et  aliorum  similis  argu*- 
menti  libellis,  1527,  Mich.  Hellenii  typis." 

*  P.  Hofmann  Peerlkamp  says  in  his  "  Liber  de  vita,  doctrina  et  facultate 
Nederlandorum  qui  carmina  latina  composuerunt"  (2d  edition,  Harlem, 
1838, p.  29):  "Gulielmus  Dives  Gandensis  floruit  1520.  Scripsit  'Carmen 
elegiacum  de  Passione  Dominica,'  artificiosag  pietatis  plenissimum.  .  .  . 
Hascsaspius  prodiit,addita  etiam  ^atuor  virtutibus  Dominici  Mancini, 
Antverpiae,  a.  1562.  Si  vocabulum  hie  illic  excipias  minus  latinum,  Car^ 
men  est  meHoris  notse  quam  multa  ejusdem  temporis  de  hoc  argumento." 

•As  for  the  edition  which  you  mention,  said  to  have  been  printed  "in 
aedibus  Ascensianis,"  in  1509,  the  library  does  not  own  it;  but  Gulielmus 
Dives'  little  poem  is  printed  in  "  Dominici  Mancini  Poemata,"  Antverpiae, 
1559,  i2mo.' 

This  is  all  that  I  have  been  able  to  learn  concerning  Guillaume  le  Riche 
or  de  Rycke;  we  do  not  know  how  this  burgess  of  Ghent  became  a  pro-' 
fessor  at  Bourges.  And  yet  the  fact  itself  is  not  extraordinary,  for,  not  long 
after,  about  1530,  another  Belgian,  named  Hanneton,  gave  instruction  in 
feudal  law  there. 

Tory  published  also  at  the  end  of  his  edition  of  Valerius  Probus  [see 
number  5,  infra],  the  following  Latin  distich, — an  enigma, — written  by 
his  master: — 

Die  age,  quae  volucres  gignunt  animalia  foetae 
Et  praebent  natis  ubera  plena  suis  ? ' 

I .  The  answer  seems  to  be  bat. 


6o 


GEOFROY  TORY 


As  for  Herverus  de  Berna,  Tory's  fellow^pupil,  I  know  even  less  of 
him.  All  that  I  have  been  able  to  learn  is  that  he  published  in  1543  a 
short  poem  in  praise  of  the  dukes  of  Nevers,  lords  of  Orval  near  Saint^ 
Amand,  where  Herverus  was  born,  and  of  which  he  was  then  cure,  if  I 
read  aright  his  bombastic  Latin.  This  is  the  title  of  the  book,  which  was 
for  sale  at  the  shop  of  Vivant  Gualtherot:  'Panegyricon  illustrissimorum 
principum  comitum  Druydarum  et  Aurivallensium  et  Nivernensium, 
Hervero  a  Berna,  curione  Amandino  Allifero,  auctore.  Parisiis,  1543.'  (I 
fancy  that  the  words  'curione  Amandino  Allifero' mean:  cure  of  Saints 
Amand'l'Allier,  now  Saint' Amand^'Montrond,) 

The  work  is  dedicated  to  a  friend  of  the  author,  and  perhaps  of  Tory 
as  well,  named  Nicolas  Rocheus  (La  Roche?),  described  as  'Apollinea 
artis  doctor  eximius'  in  the  dedicatory  epistle,  which  is  dated:  'Tumul' 
tuarie,  ex  aedibus  nostris  Amandinis,  kalendis  ianuarii,  1542.' 

4 

Berosus  Babilonensis,  de  his  qvje  pr^cesserunt  inundationem 
terrarum;  item  Myrsilus,  de  origine  Turrenorum,  etc. 
Quarto,  Paris,  15 10;  with  the  small  mark  of  the  Marnefs  (the  Peli^ 

can),'  with  the  letters  E.  L  G. 

This  work,  which  was  printed  by  J.  Marchand,  at  the  expense  of 

Geofroy  de  Marnef,  bookseller  and  publisher,  was  prepared  for  the  press 

by  Geofroy  Tory,  who  placed  at  the  beginning  the  following  letter: — 

To  the  most  distinguished  Philibert  Babou,  Geofroy  Tory  of  Bourges, 

heartiest  greeting.^ 

Last  year,  when  I  was  attending  to  the  printing  of  Pope  Pius's  Cos/ 
mography,  the  idea  occurred  to  me  of  thoroughly  revising  and  handing 
to  the  printer  at  an  early  date  the  Babylonian  Berosus's  work  on  the '  An^ 
tiquities  of  the  Kingdoms';  but,  my  mind  at  that  time  taking  another 
turn,  I  determined  to  postpone  this  work,  for  the  reason  that  I  had  a 
project  of  almost  divine  character  on  hand;  and  indeed  I  should  have 
postponed  it  for  a  long  time, — as  the  saying  is,  to  the  Greek  Calends, — 
had  not  Berosus  himself,  so  to  speak,  and,  what  is  and  always  will  be  of 
no  little  importance  to  me,  a  number  of  my  friends,  daily  whispering  in 
my  ear,  as  it  were,  their  prayers,  demanded  of  me  most  earnestly  that 
I  should  print,  along  with  Berosus,  Myrsilus  'De  origine  Turrenorum,' 

I .  [See  p.  265  infra.]  z.  [For  the  Latin  original,  see  Appendix  X,  ».] 


BIBLIOGRAPHY 


6i 


Cato's  fragments,  Archilochus,  Metasthenes,  Philo,  Xenophon  'De  xquu 
vocis/  Sempronius,  Fabius  Pictor,  and  Antoninus  Pius's  fragments  of  the 
'Itinerarium.'  There  is  a  very  avaricious  class  of  human  beings,  which, 
if  it  has  a  book — a  book  that  is  hard  to  find — consisting  of  three  or  four 
short  lines,  straightway, — like  the  ants  of  India,  or  the  griffins,  which 
are  fabled  to  carry  gold  to  a  remote  spot  and  there  keep  watch  over  it, 
threatening  with  dire  destruction  any  one  who  attempts  to  touch  it, — 
carries  it  off  and  guards  it,  and  loading  it  with  chains  and  fetters,  keeps 
it  imprisoned  like  a  miserable  captive.  Such  people  ought  to  display  their 
officious  greed — the  greed  of  possessing  something  unique  all  to  one's 
self — in  company  with  the  ants  and  griffins,  which  other  people  avoid, 
rather  than  to  continue  their  incivility,  or  perhaps  I  should  rather  say 
immunity,  among  human  beings.  We  are  born  not  alone  for  ourselves: 
we  owe  something  also  to  our  friends,  something  to  our  country.  There/ 
fore,  that  it  may  not  seem  to  be  my  desire  to  extinguish  the  brilliant 
light  of  a  burning  lamp,  I  the  more  wiUingly,  under  your  name,  Phili' 
bert,  most  illustrious  citizen  of  Bourges,  send  forth  Berosus's  'Antiquities,' 
together  with  the  other  authors  mentioned  above,  for  the  common  study 
of  all,  and  I  believe  that  I  shall  therein  be  doing  an  act  that  wil]  gain  the 
gratitude,  in  some  small  measure,  of  my  country.  Farewell. 
Paris,  at  the  College  of  Plessis,  2  May,  15 10. 

civis. 

Tory's  letter  is  dated  May  2, 15 10 ;  but  the  printing  of  the  book  was 
not  finished  until  the  ninth  of  that  month,  as  we  see  by  the  subscription 
of  the  first  edition;  for  there  were  at  least  three  distinct  editions  in  Tory's 
name,  to  say  nothing  of  a  multitude  of  others  issued  by  different  pubKsh^ 
ers.  Annius  of  Viterbo,  otherwise  known  as  Jean  Nanni,  had  recently 
brought  into  fashion  the  fables  of  Berosus,  which  he  attempted  to  pakn 
off  as  an  ancient  work;  and  scholars  were  still  at  odds  as  to  the  authen^ 
ticity  of  the  book,  the  sale  of  which  their  discussions  aided  to  maintain. 
Tory  seems  to  have  taken  sides  with  Annius  of  Viterbo,  as  he  himself 
prepared  an  edition  of  the  supposititious  Berosus,  the  preface  of  which 
we  have  just  quoted.  We  have  said  that  there  were  three  editions  in  his 
name.  They  may  be  described  thus: — 

First  Edition 

Quarto;  28  leaves  numbered  in  Arabic  figures,  and  4  preliminary 
leaves. 

FoKo  I  recto,  title:  'Berosus  Babilonicus,de  his  quae  praecesserunt  inun-* 


62 


GEOFROY  TORY 


dationem  terrarum;  item  Myrsilus,  de  origine  Turrenomm;  Cato,  in  frag/ 
mentis;  Archilocus,  in  epitheto  de  temporibus;  Metasthenes,  de  judicio 
temporum;  Philo,  in  breviario  temporum;  Xenophon,  de  equivocis  tem^ 
porum;  Sempronius,  de  divisione  Italic;  Q_.  Fab.  Pictor,  de  aureo  seculo 
et  origine  urbis  Roms ;  fragmentum  itinerarii  Antonini  Pii ;  altercatio 
Adriani  Augusti  et  Epictici.'  Then  comes  the  mark  of  the  Marnefs,  with 
the  letters  E.  I.  G.,  and  the  words  •  Le  Pelican'  in  a  scroll  at  the  left.  (No. 
15  of  M.  Silvestre's  'Marques  Typographiques.') 

On  the  verso  of  this  leaf  is  Tory's  letter,  quoted  above.  Four  unnum-' 
bered  intercalated  leaves  follow,  containing  the  table  of  contents  and  a  list 
of  errata. 

Folio  2,  recto:  'Berosus,  de  his  quas  pracesserunt  inundationem  ter^ 
rarum.' 

The  articles  mentioned  on  the  title-page  follow,  up  to  folio  28,  where 
we  find  these  words :  — 

'Impressum  est  hoc  opus  Parrhisiis,  in  Bellovisu,  per  Joannem  Mar^ 
chant,  impensis  Godofredi  de  Marnef,  anno  Domini  15 10,  septimo  idus 
maias.' — civis.' 

Second  Edition 

Quarto;  4  unnumbered  preliminary  leaves,  and  30  leaves  of  text  num-- 
bered  in  roman  figures;  in  all,  34  printed  leaves. 

On  the  first  of  the  unnumbered  leaves  is  the  title,  'Berosus  Babiloni/ 
cus,'  etc.  (as  in  the  first  edition),  but  with  the  following  additional  words : 
*  Vertumniana  Propertii.  Manethon.'  Same  mark  as  in  the  first  edition,  but 
smaller.^ 

On  the  second  leaf,  Tory's  letter.  On  the  verso  of  this  leaf  the  index 
begins,  and  fills  the  two  leaves  following. 

Folio  i.  'Berosus,'  etc.  The  text  corresponds  with  that  of  the  first  edi*- 
tion^  to  folio  xxvii,  where  the  additions  begin. 

Fol.  xxvii,  recto.  End  of  the  'Altercatio.' 

verso.  'Vertumniana  Propertii.' 
xxviii,  verso.  'Manethonis,  prima  pars.' 

Fol.  xxx  (not  numbered),  several  pieces  of  verse  [not  mentioned  on  the 
title-'page],  perhaps  by  Tory,  but  not  signed: — 

I.  'Ad  reverendissimum  ac  religiosissimum  Arturum  Calphurnium, 
Sancti  Georgii  de  Nemore  antistitem.' 

1.  May  9,  I  5 10. 

2.  Silvestre,  no.  974. 

3.  On  folio  26  of  the  first  edition  there  is  a  small  plan  of  Rome,  doubtless  a  reminiscent 
work  of  Tory's,  which  is  lacking  in  the  second  and  third  editions. 


BIBLIOGRAPHY 


63 


2.  *Ad  eruditissimum  Nicolaum  Corbinum,  Vindocinensis  plage  ju^ 
dicem.' 

3.  'Ad  bonarum  literarum  vere  amatorem  amicum  sibi  fidelem  Phi'- 
lippum  Morinensem.* 

This  edition,  which  seems  never  to  have  been  described  by  any  bib-* 
liophile,  is  in  the  Bibliotheque  Mazarine,  and  at  Sainte-'Genevieve.  It  was 
undoubtedly  published  in  15 1 1,  but  it  bears  no  indication  of  its  date. 

Third  Edition 

Quarto;  6  preHminary  leaves,  unnumbered,  and  5 1  leaves  numbered 
in  roman  figures,  divided  into  ten  signatures  (A  to  K) ,  containing  alter/ 
nately  one  and  a  half  and  two  leaves.  In  all,  57  printed  leaves,  and  one 
blank. 

On  the  first  unnumbered  leaf  is  the  title:  'Berosus,'  etc.  (as  in  the  first 
edition),  but  with  the  following  addition:  'Cornelii  Taciti  de  origine  et 
situ  Germanorum  opusculum.  C.  C.  de  situ  et  moribus  Germanorum. — 
Anno  Domini  15 1 1.'  Then  follows  a  shocking  imitation  of  the  mark  of 
the  Marnefs  in  the  first  edition.  The  gothic  initials  E  and  G  are  changed 
to  C  and  O,  and  the  I,  which  in  the  other  editions  stands  between  the 
E  and  the  G,  is  omitted.  The  words  *Le  PeHcan,'  in  a  scroll  at  the  left, 
are  reduced  to  the  three  letters  L,  P,  and  A,  the  foreign  artist  having 
been  either  unable  or  unwilling  to  read  what  was  printed  on  the  copy 
put  before  him,  which,  it  is  true,  may  have  been  imperfect.  The  first 
decorated  letter,  also,  has  been  copied,  in  order  to  deceive  the  reader,  who, 
if  we  may  judge  from  appearances,  was  assumed  to  be  seeking  the  edition 
prepared  by  Tory. 

On  the  second  leaf  is  the  letter  of  the  editor,  from  which  the  word 
'civis,'  Tory's  device,  has  been  omitted,  the  foreign  printer  apparently  not 
knowing  its  meaning.  The  four  leaves  following  are  taken  up  with  the 
table  of  contents. 

Folio  i  of  the  text : '  Berosus,'  etc.  The  text  which  follows  corresponds 
with  that  of  the  first  edition  down  to  folio  xxxii  (erroneously  numbered 
xxxiii) ,  which  ends  with  the  word  'finis.' 

On  foHo  xxxiii  recto,  the  work  of  Tacitus  mentioned  above  ['Ger^ 
mania']  begins.  Next,  on  folio  xliii  verso,  a  work  in  verse  by  Conrad 
Celtes,  the  title  of  which  is  given  above,  and  on  folio  xlviii,  another  work, 
in  prose,  by  the  same  author,  with  this  title: ' Ex  Hbro  C.  C.  de  situ  et 
moribus  Norimberge,  de  Hercinia  silvae  magnitudine,  et  de  eius  in 
Europa  definitione  et  populis  incoKs.' 


64  GEOFROY  TORY 

There  is  nothing  to  indicate  where  the  book  was  printed;  but  every/ 
thing  leads  me  to  believe  that  it  is  a  German  counterfeit.  My  opinion  is 
based  upon,  first,  the  stupid  imitation  of  the  printer's  mark  of  the  first 
edition;  second,  the  omission  of  Tory's  device  at  the  end  of  the  letter; 
third,  the  additions,  all  of  which  relate  to  Germany;  fourth,  the  fact  that 
two  of  the  three  known  copies  of  this  edition  were  recently  to  be  found 
in  the  same  country.  One  belonged  to  Panzer,  who  has  described  it  in 
his  'Annales  Typographiques" ;  I  do  not  know  what  has  become  of  it; 
a  second  copy  was  formerly  in  the  library  of  M.  Bunau,^  whence  it  passed 
to  the  Dresden  Library;  the  third  is  in  Paris,  in  the  Bibliotheque  Nation^ 
ale,  which  also  possesses  a  copy  of  the  first  edition.  It  was  by  comparing 
the  two  editions  that  I  discovered  the  fraud  committed  by  the  printer  of 
the  edition  of  1 5 1 1  with  respect  to  the  typographical  mark.  The  descrip/ 
tion  of  this  mark  given  by  Panzer,  with  that  courteously  sent  me  from 
Dresden  by  the  learned  bibliographer  Herr  Graesse,  before  I  was  aware 
of  the  existence  of  the  copy  of  the  third  edition  in  the  BibHotheque  Na/ 
tionale,  had  utterly  baffled  such  bibliographical  knowledge  as  I  possess. 
I  sought  a  meaning  for  the  letters  inscribed  on  the  mark  in  the  third 
edition ;  of  course  I  could  not  find  any.  M.  Brunet  has  since  produced  a 
facsimile  of  this  mark,  in  the  fifth  edition  of  his  •  Manuel.' ^ 

5 

Valerii  probi  Grammatici  de  interpretandis  Romanorum  literis 
opusculum,  cum  alus  quibusdam  scitu  dignissimis,  fceliciter 
INCIPIT. — Mark:  Marnef's  E.  I.  G.  (Silvestre,  no.  974.) 
Octavo;  6  printed  sheets  (signatures  A  to  I).  Paris,  E.  I.  G.  de  Marnef 
[15 10].  This  book  was  probably  printed  by  Gilles  de  Gourmont,  for  we 
find  in  it  his  unaccented  Greek  type.  It  contains  two  engravings  on  wood, 
— the  mark  on  the  title-page,  and  a  Roman  portico  farther  on.  There  are 
also  some  small  cuts  engraved  on  metal  in  one  of  the  pieces ;  but  none  of 
them  have  any  artistic  merit,  and  they  cannot  be  attributed  to  Tory. 

On  the  verso  of  the  title  is  the  following  letter,  addressed  by  Tory  to 
two  of  his  old  college  friends,  who  were  at  this  time  personages  of  note: 
the  first,  Philibert  Babou,  was  secretary  and  silversmith  to  the  king ;  the 
second,  Jean  Lallemand,  was  Mayor  of  Bourges. 

1.  Vol.  vii,  p.  548,  no.  41 1. 

2.  Catal.  bibl.  Bunav.  vol.  i,  p.  417  a. 

3.  Vol.  i,  col.  810,  under  •  Berosus.' 


BIBLIOGRAPHY  65 

Geofroy  Tory  of  Bourges  to  the  most  illustrious  Philibert  Babou  and 
'Jean  Lallemandy  the  younger  ^  citizens  of  Bourges,  united  in  mutual 
friendship,  greeting.^ 

I  owe  to  you,  most  estimable  of  men,  the  fruit  of  whatever  toil  I  may 
undertake — even  purposely  for  your  sakes — by  night  or  day.  Behold! 
Since  you  in  no  slight  degree  practise  and  admire  the  old  school  of  mor^ 
als,  the  school,  that  is,  of  respectability  and  true  worth,  I  now,  under  the 
protection  of  your  names,  ever  to  be  cherished  by  me,  commit  to  print 
Probus  Valerius,  a  most  diligent  collector  and  accurate  interpreter  of  the 
old  writings  and  abbreviations  which  appear,  elegantly  drawn,  on  the  an/ 
cient  coins,  tombs,  and  tablets;  glad  am  I  to  be  of  even  such  small  service 
to  my  country,  and  hopeful  that  the  slight  revision  to  which  I  have  sub' 
jected  the  work  will  prove  to  have  been  as  happily,  as  it  has  been  care/ 
fully,  done.  Permit,  I  beg,  an  author  of  exceeding  merit  to  come  first  of 
all  into  your  hands,  which  are  most  fitted  for  every  excellence,  and  then 
to  go  forth  brightly  and  cheerfully  into  the  hands  of  all  other  students. 
Farewell. 

Paris,  at  the  College  of  Plessis,  10  May,  15 10. 

CIVIS. 

And  at  the  end  of  the  book  is  this  other  letter,  which  gives  us  to  know 
that  the  volume  is  a  collection  of  fragments  of  ancient  authors. 

Geofroy  Tory  of  Bourges  to  the  Reader,  greeting."^ 

When  I  began,  I  believe  under  favourable  auspices,  to  print  Valerius 
Probus,  it  occurred  to  me,  not  wishing  a  book  of  one  or  two  codices  to  be 
unsuitable  as  a  manual,  to  print,  along  with  Probus,  several  articles  weU 
worth  making  the  acquaintance  of.  I  have  added  to  Probus,  Priscian's 
treatise  'De  ponderibus  et  mensuris';  likewise  Columella's  'Quemad/ 
modum  datae  formae  agrorum  metiri  debeant';  also  Georgius  VaUa's 
'Figuras  quae  sub  dimensionem  cadant';  and,  further,  some  dialogues, 
together  with  some  enigmas,  carefully  collected,  as  occasion  allowed, 
from  various  authors.  The  enigmas  I  have  designedly  left  unexplained, 
so  that,  when  you  come  to  read  them  (as  Gellius  says  in  book  xii,  ch.  6), 
you  may  sharpen  your  vdts  by  trying  to  puzzle  them  out.^  Give  your 

1.  [For  the  Latin  original,  see  Appendix  X,  <?.] 

2.  [For  the  Latin  original,  see  Appendix  X,  / 

3.  For  example,  here  are  two  riddles  by  Tory,  the  labour  of  solving  which,  I  leave,  as  he 
did,  to  the  reader :  — 


66 


GEOFROY  TORY 


attention  to  them,  I  beg,  good  reader,  so  that  I  may  not,  as  Plautus  enig/ 
matically  observes  in  the  '  Miles,'  throw  dust  in  your  eyes.  Farewell. 

In  addition  to  the  pieces  which  Tory  here  mentions,  there  are  many 
others  in  this  volume  of  miscellanies.'  It  contains  also  several  pieces  of 
verse  by  Tory  himself.  Here  is  one  which  will  give  an  idea  of  his  literary 
tastes: — 

Dialogue  by  Geofroy  Tory,  in  which  the  City  of  Bourges  is  described 
in  the  role  of  a  speaking  character.^ 
Speakers:  Monitor  and  City. 
MON.  City,  what  is  your  name? 
CITY.  Bourges. 

MON.  Now,  tell  me,  what  mean  those  proud  buildings  that  I  see  ? 
CITY.  Temples,  houses,  towers,  divine  palaces  you  see. 
MON.  Ah!  they  overtop  the  heavens  with  their  piles.  What  temple  is 
that,  I  pray? 

CITY.  The  Cathedral  of  St.  Etienne,  first  of  martyrs;  it  overtops  even 
the  lofty  marbles  of  the  goddess  Trivia. 

MON.  What  is  that  single  house  which  stands  distinguished  for  its  red 
hearts  ?  Was  it  built  by  the  hand  of  Memnon  ? 

CITY.  This  was  built  in  an  earlier  time  by  the  mortal  Jacques  Coeur 
[Heart],3  a  man  of  wealth;  him  envy  took  from  us. 

MON.  Say !  what  tower  is  that  that  is  seen  standing  higher  than  the 
lighthouse  of  Pharos?  I  am  filled  with  wonder  when  I  see  it  fully. 

CITY.  When  the  mighty  Ambigatus  ruled  the  Celtic  peoples,  in  an 
earlier  time,  this  great  tower  was  built. 

MON.  Say, oh, say, that  golden  palace,  is  it  the  Capitol?  Answer;  why 
do  you  not  speak,  Bourges  ?  You  who  just  now  talked  with  easy  speech  say 
nothing.  Do  you  wish  to  become  to  me  what  Harpocrates  was  of  yore? 

CITY.  No,  but,  see  you,  this  palace  is  to  be  approved  for  its  great  art, 
because  the  world  has  not  yet  produced  another  like  it. 

Godofredus  To.  Bi. 
Tu  caput  Adrasti  capias  morientis,  et  adde 
(Si  modo  grande  bonum  vis  mihi)  te  socium. 
Idem, 

Qu£  fuit  ilia  Cato  Romas  legatio  quondam 
Cor,  caput,  atque  pedem  cui  nec  habere  fuit  ? 

1 .  This  book  may  be  found  in  the  Bibliotheque  Mazarine,  and  at  the  Arsenal. 

2.  [For  the  Latin  original,  see  Appendix  X,  g.~\ 

3.  In  original,  Cordatus.  His  house  [in  Bourges]  is  now  used  as  the  hotel  de  ville. 


BIBLIOGRAPHY  67 

MON.  What  is  this  earth  that  yawns  with  such  an  opening? 

CITY.  It  is  the  place  where  a  tower  was  to  be  erected  for  me. 

MON.  Have  you  not  another  as  great  as  that? 

CITY.  I  have.  From  two  towers  I  get  my  name  Bourges  [Biturix]. 

MON.  By  what  name  is  it  called  in  this  time  of  ours  ? 

CITY.  The  people  name  and  call  it  'the  fosse  of  sands.' 

MON.  What  river,  what  river  have  you  to  mention? 

CITY.  The  Auron. 

MON.  Is  it  the  one  Caesar  mentions  in  describing  the  Gallic  Wars? 
CITY.  It  is. 

MON.  Are  there  others  ? 

CITY.  There  are  two:  they  are  the  Voiselle  and  the  Yevre  herself, 
swarming  with  numberless  fishes. 
MON.  What  privileges  have  you? 

CITY.  The  aH^valuable  privilege  have  I,  and  the  hall,  that  coin  money. 
MON.  Is  there  nothing  else? 

CITY.  Aquitaine  calls  me  capital  and  receives  her  laws  from  me. 
MON.  What  divinities  are  with  you? 

CITY.  There  are  Juno,  Jupiter,  and  Pan,  Vesta,  Diana,  Ceres,  Liber, 
and  the  Father  himself. 

6 

QyiNTILIANUS. 

Such  is  the  complete  title  of  an  edition  of  Quintilian's  'Institutes,' 
produced  by  Tory,  in  15 10,  at  the  request  of  Jean  Rousselet,  of  Lyon.' 

This  is  a  large  octavo  volume,  printed  in  italic  (without  pagination) , 
composed  of  46  quarto  sheets  (signatures  A  to  ZZv) :  there  are  several 
passages  in  Greek  type  of  excellent  appearance,  but  without  accents. 
Undertaken  at  the  request  of  Jean  Rousselet,  and  printed  at  his  expense, 
this  book  probably  was  not  put  on  the  market.  In  fact  it  bears  no  book^ 
seller's  nor  any  printer's  name.  We  should  not  even  know  where  it  was 
printed,  were  it  not  for  the  fact  that  the  dedication,  dated  the  third  of 
the  Calends  of  March,^  states  that  the  manuscript  was  sent  by  Tory  from 
Paris  to  Lyon.  At  the  end  of  the  volume  we  find  these  words  only:  'Im^ 
pressum  fuit  hoc  opus  anno  Domini  m.  cccccx,  septimo  calend.  Julii.' 
This  date  corresponds  to  June  25,  15 10. 

1 .  As  to  this  gentleman,  see  page  4,  supra. 

2 .  February  27,  1 5 1  o,  or  rather,  1509,  for  it  is  hardly  probable  that  the  bulky  volume  was 
printed  in  four  months.  See  the  dedication  in  question,  on  page  4,  supra.  The  book  may  be 
found  in  the  Bibliotheque  Sainte-Genevieve. 


68 


GEOFROY  TORY 


7 

LeONIS  BAPTISTi^;  AlBERTI  FlORENTINI  .  .  .  LIBRI  DE  RE  yEDIFICA' 

TORiA  DECEM.  (Markof  B.  Rembolt.)  Venundantur  Parrhisiis,  in  Sole 
Aureo  vici  Sancti  Jacobi,  et  in  intersignio  Trium  Coronarum,  e  regione 
Divi  Benedicti. 

Quarto;  1 4  preliminary  leaves  and  1 74  of  text  (signatures  A  to  Y) .  On 
the  last  page  is  the  mark  of  Louis  Hornken,  *  aux  Trois  Couronnes.'  On 
the  second  preliminary  leaf  is  printed  the  following  dedication :  — 

Geofroy  Tory  of  Bourges  to  Philibert  Babou  and  yean  Lallemand,  the 
younger^  most  illustrious  men,  heartiest  greeting.^ 

Everybody  knows,  most  estimable  of  men,  that  our  forefathers,  con^ 
tented  with  their  own  goodness,  practised  in  the  olden  times  a  kind  of 
architecture  that  had  in  it  little  art  and  little  elegance.  Satisfied  with 
mediocrity,  they  built  and  inhabited  houses  and  dwellings  of  no  great 
cost  or  splendour.  Matters  have  finally  reached  the  point  that  now,  men's 
intelligence  having  somewhat  awakened,  new  buildings  are  everywhere 
being  erected  which  have  considerable  celebrity.  In  fact,  beginning 
with  the  time  when  the  magnanimous  King  Charles  VIII,  who  was  the 
terror  of  all  Italy,  returned,  victorious  and  crowned  with  glory,  from 
Naples,  architecture,  certainly  a  beautiful  art,  began,  not  only  in  its  Doric 
and  Ionic  forms,  but  also  in  its  Italian  form,  to  be  practised  with  great 
elegance  throughout  this  country  of  France.  At  Amiens,  at  Gaillon,  at 
Tours,  at  Blois,  at  Paris,  and  in  a  hundred  other  well-known  places,  one 
may  now  see  striking  buildings,  public  and  private,  in  the  ancient  style 
of  architecture.  One  may  now,  I  say,  see  many  buildings  of  such  beauty 
and  so  nicely  carved  that  the  French  actually  seem,  and  are  generally 
considered,  to  surpass,  not  only  the  Italians,  but  also  the  Dorians  and  the 
lonians,  who  were  the  teachers  of  the  Italians.  Notwithstanding  the  bril'' 
liancy  of  these  performances  and  these  artists,  I  have  thought  it  best  to 
offer  gratefully,  and  carefuUy  to  add,  a  contribution  of  some  worth.  Leo 
Baptista  Albertus,  a  writer  on  architecture  who  is  trustworthy  and 
familiar  with  his  subject,  was  lying  stored  away  in  my  house  as  if  in  his 
last  sleep.  It  seemed  to  me  that  he  thoroughly  deserved  to  be  printed  in 
France  just  at  this  time,  for  the  delight  and  benefit  of  other  famous  artists 
who  are  better  than  he.  It  seemed  to  me,  I  say,  that  he  thoroughly  de^ 
served  to  be  printed,  and  for  this  reason  especially,  that  the  ten  books, 

I.  [For  the  original  Latin,  see  Appendix  X,  r.] 


BIBLIOGRAPHY  69 

of  which  the  whole  work  consists,  have  been  divided  into  chapters.  These 
chapters  were  accurately  and  carefully  arranged  by  Robertus  Durzeus 
Fortunatus/  a  man  of  education  and  culture,  who  was  the  Head  of  his 
College  of  Plessis  at  Paris  four  years  ago  when  I  taught  there,  and  they 
were  generously  given  to  me  by  him  to  be  copied.  I  copied  them,  and  I 
furthermore  polished  up  the  whole  work  and  cleared  it  of  all  the  errors 
possible ;  I  wrote  the  gist  of  the  text  on  the  margin,  and  gave  the  work 
to  the  printer  to  be  printed.  Permit,  I  pray,  most  distinguished  citizens 
of  Bourges,  that  this  excellent  work  come  auspiciously  into  the  hands  of 
all  good  artists  and  students,  and  that  it  be  handled  and  read  under  the 
protection  of  your  names  ever  to  be  cherished  by  me.  Farewell,  you  who 
are  the  support  and  the  most  distinguished  glory  of  your  country.^ 
Paris,  near  the  College  Coqueret,  18  August,  15 12. 

CIVIS. 

At  the  end  of  the  volume  (penultimate  page)  we  read: — 
'This  most  elegant  and  useful  work  on  architecture  of  Leo  Baptista 
Albertus  of  Florence,  a  man  of  great  distinction,  was  printed  with  great 
accuracy  at  Paris  at  the  Golden  Sun  in  the  street  of  St.  Jacques,  at  the 
expense  of  Master  Berthold  Rembolt  and  Louis  Hornken,  who  live  in  the 
same  street,  at  the  sign  of  the  Three  Crowns,  near  St.  Benedict,  a.  d.  15 1 2, 
23rd  day  of  August.' 

8 

ITINERARIVM  PROVINCIARUM  omnium  AnTONINI  AuGUSTI,  cum  FRAG/ 

mento  eiusdem,  necnon  indice  haud  quaquam  aspernando. — 
Cum  privilegio,  ne  quis  temere  hoc  ab  hinc  duos  annos  im^ 
PRIMAT. — Venale  habetur  ubi  impressum  est,  in  domo  Henrici  Ste'' 
phani,  e  regione  Scholas  decretorum,  Parrhisiis. 
Sixteenmo  (printed  as  i6s.) ;  120  leaves  (signatures  A  to  T),  plus  8 
preliminary  leaves.  [15 12.]  Printed  in  black  and  red. 
The  volume  begins  with  this  dedicatory  epistle: — 

Geofroy  Tory  of  Bourges  to  Philibert  Babou,  most  modest  of  meriy 

heartiest  greeting? 
The  'Itinerarium,'  most  illustrious  of  men,  which  for  many  years  had 
lain  in  almost  entire  neglect,  I  first  received  four  years  ago  from  a  friend 

1.  As  to  this  person,  see  note  3  on  page  5,  supra. 

2.  We  have  mentioned  heretofore  (page  \,  supra)  the  eminent  posts  occupied  at  this  time 
by  Philibert  Babou  and  Jean  Lallemand. 

3.  [For  the  original  Latin,  see  Appendix  X, 


70 


GEOFROY  TORY 


whom  I  must  ever  cherish,  Christophe  de  Longueil,  who  is  beyond  ques/ 
tion  a  scholar  of  the  highest  standing  in  all  branches  of  polite  learning. 
He  gave  it  to  me  that  I  might  make  a  copy  of  it.  It  had  occurred  to  me 
to  send  to  you  from  Paris  to  Tours  a  copy  which,  though  written  in  my 
own  hand,  was  not  wholly  without  elegance  of  form.  1  had  given  it  to  a 
man  to  bring  to  you  whose  name  I  purposely  spare,  but  he,  regardless 
alike  of  both  of  us  and  of  his  trust,  quite  shamelessly  made  a  present  of  it 
to  some  one  else.  Thus  cheated  of  the  fruit  of  my  labour,  I  was  preparing 
to  make  for  you  another  copy,  when  Longueil  himself,  who  had  formerly 
brought  the  original  from  Picardy,  and,  as  I  have  said,  had  given  it  to  me, 
having  recently  come  to  Paris  from  Poictiers,  urged  me  to  have  the  work 
printed.  This  I  have  done,  having  arranged  the  names  of  the  towns  sepa'' 
rately  and  in  order,  and  also  added  in  the  proper  places  some  matter  taken 
from  another  manuscript.  I  have  also  made  an  index,  to  facilitate  the  find' 
ingof  thenameof  any  town  or  place  in  the  whole  work.  Some  perhaps 
will  wonder  at  the  style  of  the  work,  and  also  occasionally  in  places  at  the 
Latinity.  The  style,  however,  will  receive  sufficient  approval  from  the 
student,  while  the  Latinity,  in  consideration  of  the  early  time  in  which 
the  work  was  written,  will  be  condoned  by  the  well-'disposed  reader.  I 
should  have  been  disposed  to  make  a  number  of  emendations,  using  for 
the  purpose  Ptolemy,  Strabo,  Dionysius,  Mela,  Pliny,  Solinus,  and  some 
others  who  are  not  at  all  to  be  despised,  but  out  of  regard  for  the  ven^ 
erable  author  and  in  the  desire  to  keep  the  manuscript,  which  is  very  old, 
unchanged,  I  determined  to  make  no  alterations.  I  am  waiting  for  my 
friend  Longueil  to  subject  it  some  day  to  his  scrutinizing  study,  or  for 
some  Hermolaus  to  apply  his  exacting  file.  One  thing  there  is  here  which 
I  shall  not  hesitate  to  touch:  the  author's  name  in  the  manuscript  was,  in 
my  judgement ,  wrong ,  for  it  is  written '  Antonius  Augustus.'  Hermolaus, 
a  man  of  culture  withal,  calls  it  in  a  number  of  places  in  his  Corrections 
to  Pliny,  'Antoninus.'  Those  who  read  will  see  for  themselves.  In  the 
text  I  have  followed  the  manuscript  itself;  in  the  title  of  the  book  I  have 
followed  Hermolaus.  The  fruit  of  my  labour,  such  as  it  is,  I  dedicate,  as 
in  duty  bound,  to  you  personally,  in  a  spirit  abounding  in  gratitude.  Ac 
cept  it,  I  pray,  with  the  favour  with  which  you  are  accustomed  to  accept 
all  good  things,  and  allow  the  studious  to  pass,  under  your  guidance,  with 
this  Itinerary  in  hand,  through  a  thousand  famous  cities.  Farewell,  most 
cultured  patron  of  my  studies. 

Paris,  near  the  College  Coqueret,  August  19,  15 12. 

civis. 


BIBLIOGRAPHY 
Then  comes  a  letter  from  the  publisher  to  the  reader :  — 


71 


Tory  to  the  Keader^  greeting? 
In  order,  gentle  reader,  that  you  may  be  able  to  use  this  'Itinerarium' 
to  better  advantage,  you  must  be  advised  that  whatever  you  find  marked 
with  a  red  virgule  was  larger  in  number  in  the  old  manuscript  than  in 
the  other  which  is  more  recent.  Words  which  had  a  different  reading  in 
the  recent  manuscript  have  small  red  letters  printed  above  in  the  proper 
places.  Whenever  the  sign  (a)  occurs  between  words,  a  word  or  number 
should  be  marked  above  or  at  the  side  by  the  same  sign.  The  sign '  mpm.,' 
so  written,  also  frequently  occurs  in  the  text,  and  signifies  *milia  plus 
minus.'  It  was  written  thus  so  that  the  reader  might  not  be  wearied  by 
the  frequent  repetition  of  the  long  form.  In  the  index  you  will  sometimes 
find  the  letter  b  alone,  either  following  or  between  the  page^numbers : 
this  signifies  that  the  word  in  question  is  found  at  least  twice  on  the  same 
page.  Pay  attention,  therefore,  and  kindly  see  to  it  that  in  case  you  notice 
any  who  are  displeased  with  my  work,  you  may  say  to  yourself  with  re-- 
ference  to  them  that  Persian  saying: '  that  they  may  see  virtue,  and  pine 
away  leaving  it  behind.'  I  write  this  because  at  the  time  of  printing  there 
were  some  who,  understanding  nothing  of  this  sort,  condemned  the  mat'' 
ter  according  to  their  usual  practice.  Farewell  and  live  long  in  happiness. 

civis. 

Next  to  this  comes  a  summary  of  the  life  of  Antoninus,  and,  lastly, 
some  verses  by  the  Burgundian  Gerard  de  Vercel,  in  laudation  of  Tory 
and  against  poor  printers.  Here  are  the  verses :  — 

Hende  easy  liable  Poem  of  the  Burgmidian  Gerard  de  Vercel,  on 

poor  printers.^ 

Therefore  hence,  away  therefore,  profane  hands  of  the  inauspicious 
throng  of  printers;  your  impure  works  be  off;  that  by  your  forbidden 
coming  and  impious  front  you  may  not  stain  and  soil  this  heavenly  thing. 
Let  no  man  fail  to  know:  this  volume  is  sacred. 

Ah!  vile  and  wretched  printers,  unskilled  to  put  in  print  even  the  tri^ 
fles  of  the  schools  or  old  women's  tales,  why  do  you  spoil  arts  that  are 
holy,  and  pollute  with  impure  hand  the  laborious  works  of  the  nine^ 
sisters  ? 

1 .  [For  the  Latin  original,  see  Appendix  X,  /.] 

2.  [For  the  Latin  original,  see  Appendix  X,  a.] 

3.  The  text  has  nomen  instead  of  novem,  but  the  correction  is  made  in  the  errata. 


72  GEOFROY  TORY 

What  do  you  not  put  forth  from  your  office  that  is  worthy  to  be  cast 
forth  and  buried  where  the  refuse  of  the  stomach  is  placed? 

Therefore  hence,  away  therefore,  oh  ye  profane,  ye  vile  and  wretched 
printers.  Be  this  word  enough:  sacred  is  this  volume,  which  our  Geofroy, 
our  famous  Geofroy,  he,  I  say,  of  Bourges,  taking  pity  on  Pius,  unearthed 
from  its  Lethasan  rust  and  sleep,  employing  the  guidance  and  assistance 
of  his  friend  Longueil.' 

The  book  is  brought  to  a  close  by  an  'avis  au  lecteur'  thus  conceived: 

Tory  to  the  Reader^  happiness.^ 
These  few  corrections,  excellent  reader,  I  beg  you  not  to  wonder  at. 
I  have  collected  them,  such  as  differ  from  the  readings  of  the  old  manu' 
script,  so  that  you  may  be  able  readily  to  emend  the  book  for  yourself. 
I  should  lay  the  burden  of  the  errors  on  the  printers,  but  the  art  of  print' 
ing  has  this  natural  peculiarity,  that  the  smallest  book  cannot  be  printed 
from  beginning  to  end  without  some  mistakes.  Farewell. 

Epigram  to  the  Student  by  Tory. 
If,  reader,  you  are  preparing  to  journey  in  a  fixed  course  to  a  hundred 
towns,  to  a  hundred  cities,  if  you  desire  to  travel,  better  instructed  and  on 
the  direct  road,  to  a  hundred  seaports  with  their  bays,  then  ever  gratefully 
and  carefully  hold  this  litde  book  in  your  right  hand  ready  to  consult.^ 

9 

GOTOFREDI  TORINI  BiTURICI  IN  FILIAM  CHARISSIMAM,  VIRGUNCULARUM 
ELEGANTISSIMAM,  EPITAPHIA  ET  DiALOGI.— In  EANDEM  ETIAM  QUAT^ 
UOR  ET  VIGINTI  DiSTICHA  UNUM  ET  EUNDEM  SENSUM  COPIA  VERB' 
ORUM  ET  INGENII  FCECUNDITATE  PULCHRE  REPETENTIA. 

These  verses  of  Tory  on  the  death  of  his  daughter  Agnes  form  a  small 
volume  of  two  quarto  sheets  (or  eight  leaves) .  The  book  is  dedicated  to 
Philibert  Babou ;  it  was  printed  February  1 5, 1 523,  old  style  ( 1524) ,  a  few 
days  after  Tory  had  conceived  the  idea  of  his '  Champ  fleury '  (January  6, 
1524).  The  printer,  who  is  not  named,  was  Simon  de  Colines,  then  living 
near  the  School  of  Law  ('e  regione  schols  decretorum'). 

On  the  last  page  appears  a  mark  engraved  specially  for  this  little  book, 
for  it  includes  a  tiny  winged  figure  ascending  heavenward,  which  doubt' 

1 .  Christophe  de  Longueil,  to  whom  the  manuscript  published  by  Tory  belonged. 

2.  [For  the  Latin  original,  see  Appendix  X,  i^.] 

3.  For  the  monogram  appended  to  this  final  avis,  see  p.  6,  supra. 


BIBLIOGRAPHY  73 

less  represents  the  soul  of  Tory's  daughter  returning  to  God.  This  mark 
reappears  at  the  end  of  the  Hours  of  1 5  2  4- 1 5  2  5,  but  minus  the  small  fig/ 
ure  just  mentioned." 

As  we  learn  from  the  text,  Agnes,  who  died  August  25,  1522,  at  the 
age  of  nine  years  eleven  months  and  thirty  days,  was  born  August  26, 
15 1 2.  So  that  Tory  was  married  at  least  as  early  as  1 5 1 1.  We  know  from 
another  document  that  his  wife's  name  was  Perrette  le  Hullin. 

The  only  known  copy  of  this  little  volume,  the  text  of  which  I  re/ 
produce  in  extenso,  belonged  [in  1865]  to  M.Joachim  Gomez  de  la  Cor/ 
tina.  Marquis  de  Morante,  who  was  so  exceedingly  kind  as  to  send  it  from 
Madrid  to  Paris,  that  I  might  examine  it  at  my  leisure.  M.  de  la  Cortina 
has  described  it  in  the  fifth  volume  of  the  catalogue  of  his  library  (Ma/ 
drid,  1859;  octavo).  My  only  previous  knowledge  of  it  was  derived  from 
that  catalogue,  although  it  was  bought  of  M.  Techener  not  more  than 
ten  years  ago,  for  80  reals  (20  francs). 

"Tory  to  his  Book.^ 
Go,  book,  to  the  sacred  sanctuaries  of  pious  poets;  you  are  light,  pol/ 
ished,  radiant,  and  neat.  Splendidly  arrayed  you  are,  and  have  nard,  and 
roses,  and  saffron;  the  Latin  goddesses,  gracious  divinities,  together  with 
Phoebus.  Be  not  afraid  lest  you  do  not  carry  with  you  the  favour  of  the 
gods ;  they  will  lift  you,  laurel/scented,  above  the  stars. 

Agnes  Tory^  sweetest  and  most  modest  of  maidens,  addresses  the 
wayfarer  from  her  tomb. 

Thou  who  passest  with  Hght  foot,  beloved  wayfarer,  stay  thy  step  a 
little;  lo,  I  wish  to  say  a  few  words  to  thee.  Live  in  remembrance  of 
death,  free  from  vices,  and,  if  thou  art  wise,  cast  aside  that  hope  of  life 
which  thou  cherishest.  Thou  art  radiant  with  beauty  to/day,  but,  when 
the  thread  is  cut,  impious  Fate  hurries  thee  straight  on  to  nought.  I  know 
this  by  experience,  for,  lately  but  a  young  girl  of  ten,  I  was  suddenly 
snatched  away.  Like  a  rose  I  bloomed,  sharer  in  those  virtues  which  are 
usually  seen  in  tender  maidenhood.  But  yet  I  died,  overwhelmed  by  the 
cruel  fates,  and  now  I  am  food  for  the  flesh/eating  worms.  Food  for  the 
flesh/eating  worms  I  he,  but  not  so  wholly  lifeless  that  I  cannot  speak 
the  truth  to  thee.  I  speak  in  the  Latin  tongue,  and  this  is  not  strange,  fair 
friend,  for  I  am  to  be  named  the  daughter  of  a  pious  poet.  Desiring  to 

1 .  See  these  two  marks,  p.  46,  supra  [nos.  7  and  8] . 

2.  [For  the  Latin  original,  see  Appendix  X,  w.'\ 


74 


GEOFROY  TORY 


instruct  me  in  the  Ausonian  tongue,  and  also  to  render  me  accomplished 
in  the  polite  arts,  he,  like  a  most  affectionate  father,  teaching  me  night 
and  day,  himself  laid  the  foundations,  sweet  and  ample,  for  my  life.  I 
should  be  accomplished  in  the  learning  of  the  famous  Muses,  and  I  should 
sing  beautiful  songs  in  pleasing  measure;  and  then  my  sire  would  have 
given  me  fond  kisses,  placing  the  laurel^wreath  upon  my  head.  O  pitifiil 
lot  of  human  beings !  O  hopes  doomed  to  perish !  On  earth  there  is  no^ 
thing  that  can  be  lasting.  Not  only  does  death  show  herself  face  to  face 
to  wretched  mortals,  but  with  silent  step  she  steals  upon  them  secretly 
and  unbeknown.  Ah !  beware,  therefore,  beware,  thou  who  art  doomed 
to  die,  the  world  will  certainly  in  a  moment's  time  fall  and  crash  about 
thee.  Thou,  while  thou  still  livest,  while  thou  seekest  great  honours,  art 
with  infirm  and  rapid  step  steadily  approaching  thy  doom.  If  thou  de' 
partest  satisfied  with  this  one  certain  warning,  and  if  thou  believest  that 
I  speak  the  truth,  bestrew  me  with  flowers,  violets  and  lilies,  and  nard. 
Pray  for  me  too,  if  it  please  thee,  and  weep.  Me  thou  wilt  cause  by  thy 
prayers  to  mount  to  the  lofty  vault  of  Heaven,  where  is  perpetual  light, 
peace,  and  grateful  rest.  This  was  the  little  that  I  wished  thee  to  know. 
Live  in  remembrance  of  death ,  thou  who  art  destined  soon  to  die.  Farewell. 

She  died  where  she  was  born,  at  Paris,  25  August,  a.  d.  1522. 

She  lived  nine  years,  eleven  months,  about  thirty  days;  the  hours  are 
known  to  none;  God  alone  knows  the  minutes. 

Father  and  Daughter,  Speakers. 

F.  Food  for  the  worms  you  lie,  dearest  daughter.  Me  you  leave  in 
perpetual  tears  and  weeping. 

D.  Dear  father,  spare  your  weeping  and  tears.  It  is  all  over  with  me. 
Death  carries  away  both  young  and  old. 

F.  Nor  can  I  refrain  from  terrible  wailing.  Alas!  I  should  have  more 
rightly  died  before  you. 

D.  Such  was  not  the  will  of  the  heavenly  fates.  At  your  death,  believe 
me,  you  shall  most  certainly  come  to  me. 

F.  In  the  meantime,  with  bended  head,  I  will  bring  with  full  hands 
violets  and  lilies  to  your  tomb. 

D.  Add  your  prayers;  through  prayers  I  shall  fly  to  the  high  vault  of 
Heaven.  Pious  prayers  enable  us  to  ascend  to  the  lofty  stars. 

F.  It  is  as  you  say;  and  do  you  too,  my  daughter,  pray  for  your  father ; 
pray  that  he  may  rise  with  you  to  the  glad  Heavens. 

D.  To  the  glad  Heavens  you  shall  rise,  free  from  bitter  cares,  and 
with  all  the  trouble  of  your  mind  removed. 


BIBLIOGRAPHY 


75 


F.  You  speak  the  truth,  and  so  I  will  do.  The  good  God  calls  you  to 
himself  in  Heaven?  Dear  daughter,  farewell. 

F.  Alas!  my  sweet  soul,  you  are  dead. 
D.  Courage,  father,  no  one  is  immortal. 

Twehe  disticbs  to  be  inscribed  on  the  twelve  different  sides  of  an  urn. 

On  the  first  side. 

You  wish  flowers!  violets!  you  wish  lilies!  garlands!  cyperus!  These 
this  earthen  urn  will  give  you,  take  them  and  be  glad. 

On  the  second. 

In  this  urn  the  deceased  maiden  Agnes  lies;  in  its  centre  breathes  a 
delightful  odour. 

On  the  third. 

Here  is  Merriment,  here  Love  too,  Sport,  and  Virtue;  and  here  the 
Graces'  selves,  beings  divine,  with  the  Muses,  sit  and  dwell. 

On  the  fourth. 

In  this  urn  are  marjoram  and  sweet^smelling  cyperus ;  here  are  violets, 
lilies,  garlands,  roses. 

On  the  fifth. 

Not  alone  does  the  maiden  Agnes  here  abide,  but,  with  Phcebus,  the 
Clarian  goddesses  themselves  sit  and  dwell. 

On  the  sixth. 

Gold^eaf  joined  with  gems,  and  green  jewels,  are  kept  with  everlast^ 
ing  flowers  in  this  urn. 

On  the  seventh. 

Do  you  wish  and  long  to  become  acquainted  with  Agnes'  urn?  See, 
where  the  laurel  grows  upward  to  the  lofty  sky. 

On  the  eighth. 

Here  lies  in  death  Agnes  of  memory  dear;  she  could  already  sing 
tripping  measures  with  tender  voice. 

On  the  ninth. 

Here  lies  the  maiden  poet  ten  years  of  age,  an  honour  to  freeborn  song 
and  maidenhood. 

On  the  tenth. 

If  you  wish  to  know  where  Agnes'  ashes  really  lie,  they  are  here ;  hes' 
itate  not  in  your  beHef,  but  be  assured. 

On  the  eleventh. 

Do  you  wish  to  hear  Phcebus  and  the  Muses'  selves  singing  in  sweet 
strains?  Approach  this  urn,  and  you  will  straightway  hear. 


76  GEOFROY  TORY 

On  the  twelfth. 

A  rising  poet,  deceased  in  tender  years,  lies  here  with  laurePcrowned 
maidenhood. 

Monitor  and  Agnes,  Speakers. 
MON.  Answer  me  a  few  questions,  I  pray,  maiden  poet. 
A.  I  will,  provided  you  ask  but  few. 
MON.  I  will  ask  but  few. 
A.  Ask. 

MON.  What  is  your  mind  in  death? 
A.  Of  gold. 

MON.  What  is  your  body? 
A.  Of  dust. 

MON.  What  is  your  spirit? 
A.  Of  air. 

MON.  Enough ;  calm  repose  and  peace  be  for  ever  yours. 
A.  And  yours  in  life  a  full  measure  of  sweet  health. 

Distichs  hanging  on  written  tablets  from  a  laurehtree  near  the  tomb 

and  urn  of  Agnes. 

On  the  first  tablet. 
Here  lies  a  poet,  image  of  distinguished  virtue,  noble  and  illustrious 
type  of  nature. 

On  the  second. 

Here,  with  drooping  quiver,  lie  the  broken  arms  which  freeborn  Love 
once  used  to  carry. 

On  the  third. 

Pearl,  crystal,  magnet,  and  the  green  emerald  gleam  with  the  virgin 
poet  that  lieth  here. 

On  the  fourth. 

Here  will  be  perpetual  spring  with  various  flowers  as  long  as  flashing 
Phoebus  drives  his  golden  chariot. 

On  the  fifth. 

Here  rest  Comeliness  and  Sport,  and  Laughter,  and  Merriment;  here 
is  Love,  unarmed,  with  the  laurePcrowned  maid. 

On  the  sixth. 

Inside  this  urn  is  a  treasure ;  touch  it  not,  countless  gems  are  within  it. 

On  the  seventh. 

As  long  as  Phcebus  shall  fill  the  regions  of  the  heavens  with  his  rays, 
here  will  be  violets  and  flowers,  here  will  be  the  anise. 


BIBLIOGRAPHY  77 
On  the  eighth. 

Here  abide  Love,  and  Sport,  and  Laughter,  and  Merriment,  and  Wit; 
here  abide  the  Muses  and  the  Graces ;  here  abides  Apollo. 

On  the  ninth. 

Here  dwells,  with  the  honey-'dropping  Muses,  a  maiden  destined  to 
receive  glory  and  perpetual  song. 

On  the  tenth. 

Here  the  earth  is  green,  producing  spontaneously  mar  joram'-garlands, 
and  here  it  is  damp  and  fertile  with  vernal  dews. 

On  the  eleventh. 

Here  violets,  here  flowers,  here  lilies,  garlands,  crowns  grow  sponta^ 
neously,  and  spontaneously  thrive. 

On  the  twelfth. 

Here  Genius  with  cruel  hand  breaks  in  twain  his  standards,  seeing 
that  the  type  of  nature  has  perished. 

Monitor  and  Maidenhood,  Speakers. 

MON.  Ho  there !  maiden,  beauteous  with  your  rosy  face,  what  do  you 
here,  weeping  in  deep  distress  ? 
MA.  I  am  moaning. 

MON.  What  is  the  reason  for  your  moaning? 

MA.  The  maiden  Agnes,  whose  ashes  this  earthen  urn  beside  me  holds. 

MON.  Whence  comes  this  sweet  odour  to  my  nostrils? 

MA.  From  the  urn,  an  odour  placed  there  by  the  Graces,  beings  divine. 

MON.  What  did  they  place  there? 

MA.  Roses  and  cinnamon,  balsam  and  nard,  flowers  and  violets,  lilies, 
garlands,  and  saflS-on. 

MON.  Is  there  marjoram  also  in  the  urn,  the  cyperus  with  oil  of  myrrh? 
MA.  There  is  in  it  every  fragrant  herb  and  pleasant  odour. 
MON.  Does  the  urn,  beautifully  decked,  wear  a  green  crown? 
MA.  As  is  fitting  and  right,  it  wears  a  laurel^reath. 
MON.  What  is  the  reason? 

MA.  It  contains  the  rejoicing  Muses,  who  celebrate  with  song  the  rites 
of  the  tender  maiden. 

MON.  Do  they  sing  alone? 

MA.  Alone?  No.  Phoebus  Apollo  in  the  centre  tunes  his  lyre  and  per' 
forms  the  mystic  rites. 

MON.  What,  then,  do  you  mean,  sweetest  maid,  by  this  great  moaning, 
and  why  do  the  divinities  beside  you  sweetly  sing? 


78  GEOFROY  TORY 

MA.  I  will  tell  you  the  truth.  I  cannot  but  willingly  weep ;  so  nobly 
gifted  was  she  in  intellect.  But  ten  years  of  age,  having  followed  her  fa^ 
ther's  precepts,  she  was  even  then  a  poet  who  could  sing  in  tripping 
measure. 

MON.  A  mighty  miracle  of  nature  you  recount  to  me. 
MA.  Nothing  on  this  earth  can  be  truer. 
MON.  Who  are  these  whom  I  see  standing  here  ? 
MA.  Sport,  Merriment,  then  Gesture,  Honour,  Virtue,  and  festive 
Love. 

MON.  And  these  shattered  arms  that  lie  in  great  numbers  around  the 
urn? 

MA.  The  gods  themselves  carried  them  when  they  were  whole. 

MON.  What  will  they  do  now  that  all  these  arms  have  been  thus  broken? 

MA.  They  wUl  lament  and  weep  and  groan  for  all  time. 

MON.  Shall  you  too  weep? 

MA.  I  shall  weep  in  sorrow  all  my  days. 

MON.  Have  you  a  name? 

MA.  I  have. 

MON.  What  is  it? 

MA.  Maidenhood. 

MON.  Dear  one,  farewell. 

MA.  Farewell,  dearest  Monitor,  and  forget  not  her  who  lieth  here  and 
was  once  a  beautiful  maiden. 

Monitor  and  Agnes,  Speakers. 

MON.  Little  poet,  lying  here,  all^deserving  of  famous  praise,  may  I 
speak  a  few  words  with  you? 
A.  You  may. 

MON.  Who  made  for  you  this  urn  set  with  brilliant  gems  ? 

A.  Who?  My  father,  famed  in  this  art. 

MON.  Your  father  is  certainly  an  excellent  potter. 

A.  He  practises  industriously  every  day  the  liberal  arts. 

MON.  Does  he  also  write  melodies  and  poems? 

A.  He  does.  He  also  blesses  with  sweet  words  this  lot  of  mine. 

MON.  Yes,  the  skill  of  the  man  is  wonderful. 

A.  Hardly  has  any  land  produced  so  famous  a  man. 

MON.  O  maiden  happy  in  such  a  father! 

A.  I  certainly  am  so.  He  also  exalts  my  name  to  the  skies. 

MON.  I  hear  the  symphony. 


BIBLIOGRAPHY  79 

A.  The  Clarian  Muses,  together  with  Phoebus,  sing  their  melodies  here 
with  me  night  and  day. 

MON.  Near  you  I  see  the  Graces. 
A.  They  tender  garlands  to  me. 
MON.  Whence  do  they  pluck  violets? 
A.  On  the  Elysian  Hills. 
MON.  Are  there  others  with  you  ? 
A.  There  are  also  three  divinities. 
MON.  What  are  they? 

A.  Sport,  and  Love,  fair  Monitor,  and  Merriment. 
MON.  What  do  they? 

A.  They  lay  in  place  for  me  holy  holocausts,  and  they  fill  the  accus-* 
tomed  hearths  with  tinder  and  with  fire. 

MON.  Have  you  long  been  a  goddess  of  the  upper  regions? 

A.  I  am  becoming  a  goddess  of  the  upper  regions. 

MON.  If  you  are  a  goddess,  why  do  you  not  have  your  dear  parents 
ascend  to  the  heavenly  realms? 

A.  They  will  both  ascend. 

MON.  But  when? 

A.  When  their  fates  clearly  see  that  it  is  necessary.  Each  man  has  his 
fixed  day,  appointed  for  him  by  the  fates. 

MON.  Each  man,  therefore,  has  his  fixed  and  immovable  day  ? 
A.  To  every  man  comes  death  on  a  certain  day. 
MON.  Meanwhile  what  will  your  father  and  mother  do  here  on  earth  ? 
A.  What  ?  They  will  perform  their  holy,  sacred  duties,  and  pray. 
MON.  Afterwards  what  will  happen? 

A.  In  blessedness  they  will  ascend  to  the  heavenly  realms,  when  the 
Heavenly  Father  above  so  wills. 

MON.  I  will  now  go  back  to  my  duties. 

A.  When  you  wish,  of  course ;  live  in  happiness,  and  a  kind  farewell. 
MON.  And  may  you  live  with  the  gods  above,  as  a  heavenly  intelli' 
gence,  as  a  famous  constellation,  as  a  benign  goddess. 

Genius  and  Wayfarer,  Speakers. 

G.  Stay  a  little,  I  beg,  and  go  no  farther,  wayfarer,  before  looking  at 
this  urn  and  tomb, 
w.  Who  are  you? 
G.  I  am  Tutelary  Genius, 
w.  What  would  you  have  ? 


8o 


GEOFROY  TORY 


G.  I  wish  to  converse  a  little  with  you  here,  friend, 
w.  I  am  willing. 

G.  See  how  a  maiden  poet,  taken  away  by  cruel  fate,  is  contained  in 
this  earthen  urn. 

w.  How  old  was  she  ? 
G.  Twice  five  years. 

w.  And  did  she,  well^skilled,  sing  poetic  measures? 
G.  She  did. 

w.  'T  is  a  wonder  that  you  tell  me  of. 

G.  She  wrote  festive  songs  in  sweet  verse,  spontaneously  playing,  spon" 
taneously  singing. 

w.  O  rare  grace  of  nature !  O  manifest  glory  of  the  gods !  That  so 
tender  a  maiden  should  be  a  poet ! 

G.  'T  was  a  song,  whatever  she  by  chance  wished  to  utter ;  whatever 
she  desired  to  say,  't  was  a  song. 

w.  Whence  came  to  her  the  source  of  such  a  power? 

G.  From  the  realms  above,  whence  it  is  used  to  come. 

w.  As  one  divine,  therefore,  she  wrote  charming  verses? 

G.  As  one  divine,  following  her  own  and  her  father's  precepts. 

w.  Does  her  father  too  compose  melodies? 

G.  He  does,  he  is  a  poet  fair  and  proper.  He  is  proper  and  deft  and  neat, 
bright  and  decent.  He  is  one  whom  the  Muse  blesses  with  divine  song. 

w.  He  is  certainly  well'deserving  of  some  Mscenas. 

G.  Few  are  the  Mscenases  that  live  in  the  French  world.  No  one 
to'day  either  encourages  the  liberal  arts  by  appropriate  gifts  or  under/ 
takes  to  encourage  them  in  any  way.  Uprightness  and  fair  virtue  are  in 
no  esteem.  So  powerful  is  the  sway  of  unhappy  Avarice.  Treachery,  de^ 
ceit,  and  vice  are  in  the  ascendant.  Virtues  are  put  in  the  background, 
and  every  form  of  wretched  evil  creeps  abroad. 

w.  What,  therefore,  does  he  who  is  trained  by  the  charming  Muses? 

G.  He  takes  pleasure  in  being  able  to  live  in  his  own  house. 

w.  He  ought  to  go  with  hurried  step  to  the  courts  of  kings. 

G.  He  does  not  care  to,  because  he  has  a  free  heart.  Your  potentates 
sometimes  take  pleasure  in  looking  at  songs,  but  what  then?  They  re 
quite  them  with  nods.  Golden  songs,  drawn  from  the  high  heavens,  they 
should  reward  with  jewels  and  with  pure  gold.  But,  frivolous  as  they  are, 
they  foolishly  give  their  grand  gifts  to  fools,  spendthrifts,  and  rogues. 

w.  Did  he  educate  his  own  daughter  in  studies  befitting  her  birth? 

G.  He  did,  and  in  the  fine  arts  besides. 


BIBLIOGRAPHY 


8i 


w.  And  was  she  earnest  to  retain  her  father's  precepts? 

G.  She  had  no  greater  wish  than  to  follow  her  father's  words. 

w.  Oh,  what  a  great  honour  she  would  have  been  to  her  country  and 
her  father,  had  she  lived  to  undertake  the  duties  of  life. 

G.  Yes,  her  glory  would  have  excelled  that  of  all  other  girls  in  French 
lands.  She  was  distinguished  in  appearance,  her  face  was  beautiful  in  its 
modesty,  and  she  was  all  compact  of  golden  words  and  ways.  She  drew 
to  herself  the  hearts  of  men,  young  and  old,  and  made  them  follow  her 
wishes  with  constant  loyalty. 

w.  This  is  a  miracle  you  tell  me  of. 

G.  I  tell  you  the  truth,  wayfarer.  She  was  a  mirror  of  true-born  no-' 
bility. 

w.  Oh,  overwhelming  grief!  Oh,  bitter  grief  and  pain!  That  such  a 
one  could  die  so  suddenly !  What  will  her  father  do  in  the  meantime  ? 

G.  Bowed  down  with  grief,  he  wiU  suffer  pain  of  heart  and  shed  un^' 
ceasing  tears. 

w.  He  would  do  better  to  pour  forth  a  flood  of  prayers  to  the  heavenly 
gods  and  to  join  to  his  prayers  the  last  rites  to  the  dead. 

G.  He  joins  the  last  rites  to  his  prayers  and  never  ceases.  He  fills  the 
customary  hearths  with  tinder  and  fire. 

w.  O  maiden  worthy  of  so  deserving  a  father !  O  father,  too,  blessed 
in  such  a  daughter  I 

G.  She  now  shines  benign  in  the  glad  clouds,  like  a  radiance  newly-* 
risen,  like  a  golden  constellation. 

w.  May  she  triumph,  shining  in  the  ethereal  realms,  and  may  the 
daughter  graciously  take  her  father  with  her. 

G.  Go  about  your  affairs,  if  you  wiU  depart,  wayfarer.  This  is  what  I 
wished  to  say.  Friend,  farewell. 

w.  Live  in  happiness,  guardian  of  the  tomb  and  revealer  of  the  urn. 
I  go  about  my  affairs  diligently  and  in  haste. 

Printed  at  Paris,  near  the  Law  School,  a  d.  1523,  15th  day  of  Feb'y. 

10 

Champ  Flevry  Au  quel  est  contenu  Lart  &  Science  de  la  deue 
&  VRAYE  Proportio  des  Lettres  Attiques,  quo  dit  autremet 
Lettres  Antiques,  &  vulgairement  Lettres  Romaines  pro/ 
portionnees  selon  le  Corps  &  Visage  humain. — Ce  Liure  est 
Priuilegie  pour  Dix  Ans  Par  Le  Roy  nostre  Sire,  &  est  a  vendre  a  Paris 


82 


GEOFROY  TORY 


sus  Petit  Pont  a  Lenseigne  du  Pot  Casse,  par  maistre  Geofroy  Tory  de 
Bourges  Libraire,  &  Autheur  du  diet  Liure.  Et  par  Giles  Gourmont 
aussi  libraire  demourant  en  la  Rue  sainct  laques  a  Lenseigne  des  Trois 
Coronnes. 

[Here  the  Pot  Casse,  no.  4  (see  p.  45  supra).] 
Privilegie  povr  dix  ans. 

A  small  folio  of  8  preliminary  leaves  (signature  A) ,  comprising  the 
title,  the  privilege,  etc.,  and  lxxx  numbered  leaves  (signatures  B  to  O) ; 
in  all,  14  signatures.  The  first  and  last  have  8  leaves  each,  the  others  6. 

I  have  already  spoken  of  this  book  at  considerable  length  in  the  first 
part,  and  shall  refer  to  it  again  in  the  third ;  but  in  this  place  I  must  at 
least  describe  it  from  a  bibliographical  standpoint. 

On  the  verso  of  the  title-page  which  I  have  just  quoted,  we  read  what 
follows : '  — 

Ce  toutal  Oeuure  est  diuise  en  Trois  Liures. 

Au  Premier  Liure  est  contenue  Lexhortation  a  mettre  &  ordonner 
la  Lague  Francoise  par  certaine  Reigle  de  parler  elegament  en  bon  & 
plussain  Langage  Francois. 

Au  Segond  est  traicte  de  Linuention  des  Lettres  Attiques,  &  de  la  con^ 
ference  proportionnalle  dicelles  au  Corps  &  Visage  naturel  de  Lhomme 
parfaict.  Auec  plusieurs  belles  inuentions  &  moralitez  sus  lesdittes  Let' 
tres  Atdques. 

Au  Tiers  &  dernier  Liure  sont  deseignees  &  proportionnees  toutes  les/ 
dittes  Lettres  Attiques  selon  leur  Ordre  Abecedaire  en  leur  haulteur  & 
largeur  chascune  a  part  soy,  en  y  enseignant  leur  deue  facon  &  requise 
pronunciation  Latine  et  Francoise,  tant  a  Lantique  maniere  que  a  la  Mo^ 
derne. 

En  deuxCaietz  a  la  fin  sont  adiouxtees  Treze  diuerses  facos  de  Lettres. 
Cest  a  scauoir.  Lettres  Hebraiques.  Greques.  Latines.  Lettres  Francoises. 
&  icelles  en  Quatre  facons,  qui  sont.  Cadeaulx.  Forme.  Bastarde,  &  Top 
neure.  Puis  ensuyuant  sont  les  Lettres  Persiennes.  Arabiques.  Africaines. 
Turques.  &  Tartariennes.  qui  sont  toutes  cinq  en  vne  mesme  Figure 
Dalphabet.  En  apres  sont  les  Caldaiques.  Les  Goffes,  quo  dit  autrement 
Imperiales  &  Bullatiques.  Les  Lettres  Phantastiques.  Les  Vtopiques, 
quon  peut  dire  Voluntaires.  Et  finablement  Les  Lettres  Floryes.  Auec 

I .  [This  same  passage  is  quoted  at  length  by  M.  Bernard  in  Part  i  (see  pp.  1 3-14,  supra), 
where  the  translator  has  attempted  to  render  it  intelligibly  in  English.  As  the  present  section  of 
the  book  is  intended  to  assist  the  bibliographer,  it  seems  proper  to  reproduce  it  here  exactly  in 
its  original  form.] 


BIBLIOGRAPHY  83 

Linstruction  &  Maniere  de  faire  Chifres  de  Lettres  pour  Bagues  dor,  pour 
Tapisseries,  Vistres,  Paintures  &  autres  chouses  que  bel  &  bon  semblera. 

On  the  following  leaf  is  the  license,  an  extract  from  which  will  be 
found  on  a  subsequent  page  (Part  2,  §  11,  no.  2) ;  then  a  letter  from  Tory 
*  a  tous  vrayz  et  deuotz  Amateurs  de  bonnes  lettres,'  beginning  thus :  — 

'Poets,  orators,  and  others  learned  in  letters  and  sciences,  when  they 
have  made  and  composed  some  work  of  their  studious  diligence  and  their 
hand,  are  wont  to  make  gift  thereof  to  some  great  lord  of  court  or  church, 
commending  him  by  letters  and  by  words  of  praise  to  the  knowledge  of 
other  men;  and  this  in  order  to  please  him  and  to  the  end  that  they  may 
be  able  always  to  be  so  welcome  in  his  sight  that  he  shall  seem  to  be 
obliged  and  bound  to  give  to  them  some  great  gift,  some  cure  or  some 
office,  in  recompense  of  the  toil  and  night-watches  they  have  employed 
in  the  making  and  composing  of  their  said  works  and  gifts.  I  could  readily 
do  the  same  with  this  Httle  book ;  but,  considering  that,  if  I  should  give 
it  to  one  rather  than  to  another,  there  might  arise  envy  and  detraction, 
I  have  thought  that  it  would  be  well  and  wisely  done  of  me  to  make  of 
it  a  gift  to  ye  all,  O  ye  devout  lovers  of  goodly  letters !  nor  to  prefer  the 
great  to  the  humble,  save  in  so  far  as  he  loves  letters  the  more  and  is  the 
more  at  home  in  virtue.' 

Then  comes  a  table,  filling  eight  pages,  and  another  letter  of  Tory, 
from  which  we  make  a  few  extracts. 

To  the  readers  of  this  book,  humble  greeting. 

It  is  commonly  said,  and  truly  said,  that  there  is  great  natural  virtue 
in  plants,  in  stones,  and  in  words.  To  offer  examples  would  be  superfluous, 
so  certainly  is  it  true.  But  I  would  that  God  might  be  pleased  to  give  me 
grace  so  to  prevail  by  my  words  and  entreaties  that  I  may  persuade  some 
persons  that,  if  they  will  not  do  homage  to  our  French  tongue,  they  will 
at  the  least  cease  to  corrupt  it.  I  find  that  there  be  three  sorts  of  men 
who  strive  and  exert  themselves  to  corrupt  and  debase  it:  they  are  the 
'skimmers  of  Latin,'  the  'jesters,'  and  the  '  jargoners.'  When  the  skim/ 
mers  of  Latin  say : '  Despumon  la  verbocination  latiale,  &  transfreton  la 
Sequane  au  dilucule  &  crepuscule,  puis  deabulon  par  les  Quadrivies  & 
Platees  de  Lutece,  &  comme  verisimiles  amorabundes  captiuon  la  be^ 
niuolence  de  lomnigene  &  omniforme  sexe  feminin,' '  it  seems  to  me 
that  they  make  sport  not  of  their  fellows  alone,  but  of  themselves.  When 
the  jesters,  whom  I  may  fairly  call  '  slashers  [dechiqueteurs]  of  Ian/- 

I .  See,  as  to  this  passage,  the  remarks  on  p.  14,  supra. 


84 


GEOFROY  TORY 


guage/  say : '  Monsieur  du  Page,  si  vous  ne  me  baillez  vne  lesche  du  iour, 

ie  merueaDieu,&  vousdisducas,vo'  auresnasarde  sanguine,' they  seem 

to  me  to  do  as  great  harm  to  our  language  as  they  do  to  their  coats,  by 

slashing  and  destroying  with  contumely  that  which  is  of  more  worth 

whole  than  when  maliciously  torn  and  defaced.  And  in  like  manner 

when  jargoners '  make  their  remarks  in  their  malicious  and  wicked  jar/ 

gon,  it  seems  to  me  not  only  that  they  prove  themselves  dedicate  to  the 

gibbet,  but  that  it  would  be  well  if  they  had  never  been  born.  Although 

Master  Fran9ois  Villon  was  in  his  day  mightily  ingenious  therein,  yet 

would  he  have  done  better  to  have  essayed  to  do  some  other  more  good' 

ly  thing.  ...  I  consider  moreover  that  there  is  another  sort  of  men  who 

corrupt  our  language  even  more :  they  are  the  innovators  and  forgers  of 

new  words.  If  such  forgers  are  not  villains,  I  deem  them  little  better. 

Think  you  that  they  show  great  refinement  when  they  say  after  drink/ 

ing  that  they  have  '  le  Cerueau  tout  encornimatibule  &  emburelicoque 

dug  tas  de  mirilifiques  &  triquedondaines,  dung  tas  de  gringuenauldes 

&  guylleroches  qui  les  fatrouillet  incessammet?'  I  would  not  quote  such 

foolish  words,  were  it  not  that  my  scorn  in  thinking  of  them  forces  me 

to  do  it.  'Si  natura  negat,  facit  indignatio  versum  ' 

Yours  in  everything,        ^   r     ^      ,  xj 

^      °         Geoiroy  Tory  de  Bourges. 

After  this  letter  comes  the  text  of  the  book,  which  occupies,  as  I  have 
said,  eighty  numbered  leaves.^ 

At  the  end  we  read: '  Here  endeth  this  present  book ...  the  printing 
of  which  was  finished  Wednesday  the  twenty^eighth  day  of  the  month 
of  April,  in  the  year  1529,  for  Maistre  Geofroy  Tory  of  Bourges,  author 
of  the  said  book,  and  bookseller,  living  in  Paris,  who  has  it  for  sale  on  the 
Petit  Pont,  at  the  sign  of  the  Pot  Casse,  and  for  Giles  Gourmont,  also  a 
bookseller,  living  in  said  Paris,  who  likewise  has  it  for  sale  on  Rue  Sainct 
Jaques,  at  the  sign  of  the  Trois  Couronnes.'  ^ 

This  work  was  reprinted  in  1549,  in  octavo,'^  with  the  same  woodcuts, 
but  with  some  variations  in  other  respects. 

1 .  Those  who  use  thieves'  slang. 

2.  [There  is  no  leaf  numbered  lix;  the  leaf  between  Iviii  and  Ix  is  numbered  Ixx.] 

3.  Cy  finist  ce  present  Liure,  .  .  .  Qui  fut  acheue  dimprimer  Le  mercredy  .xxviij.  lour  du 
Mois  Dapuril,  Lan  Mil  Cincq  Cens.  xxix.  Pour  Maistre  Geofroy  Tory  de  Bourges,  Autheur 
dudict  Liure,  &  Libraire,  demorata  Paris,  qui  le  vent  sus  Petit  Pont  a  Lenseigne  du  Pot  Casse. 
Et  pour  Giles  Gourmont  aussi  Libraire  demorant  au  diet  Paris,  qui  le  vent  pareillcment  en  La 
Rue  Sainct  laques  a  Lenseigne  des  Trois  Coronnes. 

4.  See  what  I  have  said  of  this  second  edition  on  p.  42,  supra. 


BIBLIOGRAPHY 


85 


I  I 

La  Table  de  lancien  philosophe  Cedes,  natif  de  Thebes,  et 

AUDITEUR  DaRISTOTE.  En  LAQUELLE  EST  DESCRIPTE  ET  PAINCTE 
LA  VOYE  DE  LHOMME  HUMAIN  TENDANT  A  VERTUS  ET  PARFAICTE 
SCIENCE.  AVEC  TRENTE  DIALOGUES  MORAULX  DE  LUCIAN,  AUTHEUR 

jADis  GREC.  Le  tout  picca  translate  de  grec  en  langue  latine  par  plu^ 
sieurs  scavans  et  recommandables  autheurs.  Et  nagueres  translate  de 
latin  en  vnlgaire  francois  par  maistre  Geofroy  Tory  de  Bourges, 
braire,  demourant  a  Paris,  rue  Sainct  laques,  devant  lescu  de  Basle,  a 
lenseigne  du  Pot  Casse.  Sont  en  ung  volume  ou  en  deux  qui  veult,  a 
vendre  audict  lieu  par  ledict  translateur,  et  par  lean  Petit,  Hbraire  jure 
en  luniversite  de  Paris,  demourant  aussi  en  la  me  Sainct  laques,  a  len^ 
seigne  de  la  Fleur  de  Lys. 

Twelvemo;  divided  into  signatures  of  8  leaves.  In  the  first  volume,  lo 
preliminary  leaves  and  signatures  A  to  T;  in  the  second  volume,  signa' 
tures  a  to  vij.  AU  the  pages  are  embellished  with  narrow  filleted  bor/ 
ders,  on  some  of  which  the  Lorraine  cross  appears. 

On  the  first  page  is  Tory's  Pot  Casse  (no.  6),  or  Jean  Petit 's  mark, 
according  as  the  copies  were  issued  by  one  or  the  other  of  those  publish/ 
ers,  who  divided  the  edition. 

On  the  second  leaf  is  an  extract  from  the  license  (dated  September 
i8,  i529')>  in  so  far  as  it  concerns  this  book,  'the  printing  of  which  was 
finished  the  fifth  day  of  October,  in  the  year  above  named.' 

On  the  third  leaf  is  the  dedicatory  epistle,  the  essential  part  of  which 
is  as  foUows:  — 

Geofroy  Tory  of  Bourges  doth  say  and  give  humble  greetings  to  all 
studious  and  true  lovers  of  excellent  pastime  in  reading. 

Horace,  a  poet  of  old  surnamed  Flaccus,  hath  told  us  in  writing  in 
his '  Ars  Poetica'  that  philosophers  and  poets  are  wont,  under  the  outer 
bark  of  deceitful  words,  to  convey  a  moral  meaning  which  may  profit 
us  in  the  knowledge  of  virtue  or  give  us  pleasure  in  the  charm  of  their 
style  and  their  pleasing  invention.  Wherefore,  seeing  this  to  be  true,  and 
reading  aU  day  the  Table  of  the  ancient  philosopher  Cebes,  likewise 
the  Dialogues  of  the  very  learned  and  gracefiil  Greek  author  Lucian, 
methought  that  it  would  be  well  done  of  me  to  translate  them  into  our 
French  tongue  also,  and  cause  them  to  be  printed,  to  the  end  that  each 

I .  See  the  exact  text  of  this  license,  which  includes  three  works  of  Tory,  under  no.  i  z, 
infra. 


86 


GEOFROY  TORY 


one  of  you,  upon  reading  the  said  Table,  may  readily  recognize  what  pure 
virtue  is,  and  may  find  honest  pleasure  in  the  ingenious  and  moral  Dia/ 
logues  of  the  said  Lucian.  I  offer  them  with  a  most  humble  and  devout 
heart  to  you,  O  scholars  and  lovers  of  pure  worth!  giving  you  to  know 
that,  in  so  far  as  it  hath  been  possible  for  me  so  to  do,  I  have  followed 
the  true  text,  adding  nothing  of  my  own  thereto,  neither  using  nor  mis^ 
using  any  modification  or  stuffing  whatsoever.  I  have  most  gladly  written 
them  down  for  you  in  flowing  language,  in  your  domestic  mother  tongue, 
without  attempting  to  mix  therein  refinements  of  phrase,  strange  words, 
or  such  language  as  Carmentes,  mother  of  Evander,  might  be  unable  to 
understand  or  decipher.  I  see  some  who,  if  they  should  write  but  six 
words,  four  will  be  either  out  of  use,  or  manufactured,  or  stretched  out 
longer  than  a  spear.  Like  him  who  said  in  the  laments  and  epitaphs  of 
a  king  of  the  Basoche :  — 

'Au  point  prefix  que  spondile  et  muscule, 
Sens  vernacule,  cartilaige  auricule, 
DIsis  acule,  Diana  crepuscule, 
Et  Iheure  acculle  pour  son  lustre  assoupir.' 

And  a  thousand  other  like  sayings  which  I  leave  to  him.  I  know  not  to 
whom  such  language  gives  pleasure;  but  to  me  it  seems  scarce  fair  or 
fiine.  It  would  seem,  and  yet  I  misdoubt,  as  if  such  a  battery  of  behorned 
and  overrefined  words  had  come  or  been  hurled  down  from  the  Latin 
language  to  ours;  for  there  have  been,  and  there  are  to  this  day  many 
who  think  that  they  have  done  a  wondrous  thing  if  they  have  written 
in  Latin  a  strange  and  unduly  long  word,  Hke  him  who  said,  and  ingen^ 
iously  none  the  less:  'Conturbabuntur  Constantinopolitani  innumerabil^ 
ibus  sollicitudinibus.'  And  that  other,  Hermes  by  name,  who  took  such 
delight  in  writing  long  and  refined  words  that  he  was  hoist  with  his  own 
petard  when  another  ingenious  man  composed  against  him,  in  manufac-' 
tured  words,  with  an  armful  of  syllables,  the  distich  which  follows:  — 

'Gaudet  honorificabilitudinitatibus  Hermes, 
Consuetudinibus,  sollicitudinibus.' 

I  say  this  in  passing,  that  you  may  not  expect  to  find  unwonted  words 
in  this  your  little  book.  I  know  that  there  was  once  a  wise  man  and  philcy 
sopher  who  said  one  day  to  his  friend:  '  Loquere  verbis  presentibus  et 
utere  moribus  antiquis,'  which  is  to  say,  'Speak  in  ordinary  language 
and  live  according  to  the  manners  of  the  good  old  days.'  In  this  your  said 


BIBLIOGRAPHY  87 

little  book  you  will,  I  think,  find  charm,  for  it  is  full  of  many  goodly 
and  ingenious  conceits  both  of  Cebes  and  of  Lucian.  I  have  placed  first 
herein,  as  I  have  said,  the  Table  of  this  man  Cebes,  to  the  end  that  you 
may  see  at  the  outset  that  'poesis  est  pictura  loquens':  a  poetical  work 
is  a  speaking  picture.  Touching  the  Dialogues  of  the  learned  Lucian,  I 
have  not  included  them  all,  nor  translated  all;  but  I  have  chosen  thirty 
only  of  those  which  in  my  opinion  are  the  finest  and  most  moral,  which 
you  may  readily  discover  to  be  not  only  pleasant  to  read,  but  most  pro/ 
fitable  in  goodly  moral  teaching.  You  will  accept  them  then,  if  it  please 
you,  with  kindly  face  and  heart,  remembering  that  with  God's  help  I 
will  shortly  make  you  some  other  new  gift,  to  the  best  of  my  ability. 
And  meanwhile  I  will  pray  to  our  Lord  Jesus  to  have  you  in  his  keeping 
according  to  your  wishes. 

From  Paris ;  in  all  things  your  devoted  servant, 

Geofroy  Tory. 

Follows  a  long  list  of  errata,  and  a  table  of  the  Dialogues,  followed 
by  another  letter,  'aux  lecteurs  des  Dialogues  de  Lucian  contenuz  en 
ce  present  livre.'  This  letter  contains  nothing  personal  to  Tory,  and  I 
will  quote  only  the  closing  passage,  where,  speaking  of  the  Dialogues, 
he  says: — 

I  believe  that,  if  the  ancient  and  noble  painter  Zeuxis  of  Heracleia, 
if  Raphael  of  Urbino,  Michel  Angelo,  Leonardo  da  Vinci,  or  Albrecht 
Diirer  should  try  to  paint  philosophers  and  their  various  aspects,  they 
could  not  paint  them  so  well  nor  so  to  the  life  as  our  Lucian  paints  them 
herein.  It  will  seem  to  you  that  you  do  va"ily  see  them  and  hear  them 
speak,  and  that  Menippus,  before  your  wondering  eyes,  doth  fly  up  to 
heaven  to  learn  the  truth  concerning  all  the  falsehoods  of  the  said  philo' 
sophers.  May  God  have  you  in  his  keeping  according  to  your  noble  and 
goodly  desire. 

From  the  University  of  Paris;  in  all  things  your  devoted  servant, 

Geofroy  Tory. 

At  the  end  of  the  book,  after  the  Dialogues,  Tory  introduced  a 
number  of  moral  apothegms  and  plays  upon  words,  probably  of  his  own 
invention. 

This  volume  is  printed  with  the  type  and  decorative  letters  of 
'Champ  fleury.' 


88 


GEOFROY  TORY 


I  2 

SUMMAIRE  DE  CHRONIQUES,  CONTENANS  LES  VIES,  GESTES  ET  CAS  FOR/ 
TUITZ  DE  TOUS  LES  EMPEREURS  DeUROPE,  DEPUIS  IuLES  CeSAR  IUS^ 

QUES  A  Maximilien,  DERNIER  DECEDE. — Avcc  maintcs  belles  his/ 
toires  et  mensions  de  plusieurs  roys,  dues,  contes,  princes,  capitaines 
et  aultres,  tant  chrestiens  que  non,  tant  de  hault  que  de  bas  estat  et 
condition.— Faict  premierement  en  langue  latine  par  venerable  et 
discrete  personne  lehan  Baptiste  Egnace,  Venicien. — Et  translate  de 
ladicte  langue  latine  en  langaige  francoys  par  maistre  Geofroy  Tory 
de  Bourges. — -On  les  vend  a  Paris,  a  lenseigne  du  Pot  Casse. — Avec 
privilege  du  Roy  nostre  sire  pour  X  ans.' 

Octavo;  i6  preliminary  leaves  (signatures  a  and  /^),  99  leaves  of  text, 
numbered,  and  13  leaves  of  index  and  errata,  not  numbered  (signatures 
A  to  O) ;  in  all,  128  leaves,  or  1 6  octavo  sheets.  All  the  pages  are  enclosed 
in  threefold  fillets,  with  compartments  running  into  one  another,  such 
as  were  still  used  in  printing-offices  until  quite  recently.  I  will  remark 
in  passing  that  the  sheets  of  this  book  bear  only  two  signature  letters 
each,  one  on  the  first  page  (for  the  first  form) ,  the  other  on  the  third 
page  (for  the  second  form),  as  is  the  general  practice  to-day,  instead 
of  the  four  which  were  commonly  inserted,  to  no  usefiil  end. 

On  the  verso  of  the  first  leaf,  the  recto  of  which  is  occupied  by  the 
title,  is  printed  the  king's  license,  in  these  terms:  — 

Francoys,  by  the  grace  of  God  King  of  France,  to  the  Provost  of 
Paris,  Bailly  of  Rouen,  Seneschal  of  Lion,  and  to  all  other  our  justiciars 
and  officials,  or  to  their  lieutenants,  greeting.  Our  dear  and  well^beloved 
maistre  Geofroy  Tory  of  Bourges,  bookseller,  dwelling  in  our  city  of 
Paris,  hath  caused  it  to  be  said  and  shown  to  us  that  he  hath  of  late  trans' 
lated  from  the  Latin  into  vernacular  French  two  books,  one  having  been 
formerly  translated  from  the  Greek  into  the  Latin  by  several  learned  and 
commendable  authors,  entitled:  '  La  Table  du  philosophe  ancien  Cebes, 
natif  de  Thebes,  et  auditeur  Daristote,'  together  with  certain  moral  Dia^' 
logues  of  Lucian;  the  other  originally  composed  in  the  Latin  tongue  by 
Jehan  Baptiste  Egnace,  entitled:  'Summaire  de  Chroniques,  contenant 
les  gestes  et  faictz  de  tous  les  empereurs  Deurope,  depuis  Jules  Cesar 
jusques  a  Maximilian';  likewise  another  book,  entitled:  'Les  Reigles  ge^ 
nerales  de  Lorthographe  du  langaige  francoys ' ;  the  which  books  he  is 
desirous  to  print,  were  it  our  pleasure  to  permit  him  so  to  do,  and  at  the 


BIBLIOGRAPHY  89 

same  time  to  forbid  all  booksellers,  printers,  and  all  other  persons  what/ 
soever  to  print,  cause  to  be  printed,  or  expose  for  sale  the  said  books — 
Wherefore  is  it  that  we,  having  regard  to  the  trouble  and  labour  which 
the  said  Tory  hath  had  herein,  have  given  unto  him  license  and  permis^ 
sion  to  print,  cause  to  be  printed,  and  expose  for  sale  at  a  fair  and  rea^ 
sonable  price,  by  himself,  his  servants,  agents  and  factors,  the  said  books 
above  described,  during  ten  years  following  and  subsequent  to  the  print'- 
ing  thereof.  Such  is  our  wHl,  etc.  Given  at  Paris  the  xxviii  day  of  Sep/ 
tember,  in  the  year  of  grace  m.  d.  xxix,  and  of  our  reign  the  xv. 

Heruoet. 

Next  comes  the  following  letter  of  Tory,  by  way  of  preface:  — 

Geofroy  Tory  of  Bourges,  to  all  studious  and  true  lovers  of  goodly 
reading  and  profitable  pastime,  doth  humbly  bid  and  offer  greeting. 

I  promised  you  not  long  since,  in  the  preface  to  the  Table  of  Cebes 
and  the  thirty  new  Dialogues  of  Lucian,  that  I  would  ere  long,  by  my 
humble  efforts,  make  for  you  another  new  book,  which,  to  my  thinking, 
might  afford  you  pleasing  and  useful  pastime,  by  enticing  you  to  read 
and  see  therein  things  wherewith  your  mind  might  well  in  due  time  and 
place  be  entertained  and  deliciously  soothed.  At  this  present  time  (my 
most  honourable  lords) ,  as  your  humble  servant,  who  is  entirely  devoted 
to  you,  I  present  to  you  a  'Summaire  de  Chroniques,'  the  which  I  have 
translated  for  you,  as  I  translated  the  said  Cebes  and  Dialogues,  from 
the  Latin  into  French,  to  the  best  of  my  poor  ability,  forewarning  you 
that,  after  the  manner  of  Jehan  Baptiste  Egnatius,  the  present  author, 
I  have  neither  modified  nor  changed  the  meaning  of  the  story  in  favour 
of  any  man  whatsoever.  Nor  is  my  translation  made  word  for  word,  be^ 
cause  that  would  have  been  a  too  barren  style  and  devoid  of  charm.  I 
know  that,  according  to  Horace  (*nec  verbo  verbum  curabit  reddere 
fidus  interpres'),  a  translator  should  rfot  vex  his  wits  about  rendering 
each  word  that  he  translates  into  a  word  of  his  language;  but  should  re^ 
tain  the  meaning  and  set  it  forth  in  the  best  style  that  shall  be  possible 
for  him.  So  I  have  done  the  best  that  I  could,  as  well  for  the  love  and 
respect  that  I  owe  you,  as  not  to  depart  from  the  pure  truth  of  history, 
which  is  of  such  nature  that  it  will  not  brook  to  be  in  any  way  turned 
aside  from  its  purity.  Marcus  TuUius  Cicero  doth  well  enjoin  it  upon  us, 
when  he  writes  in  the  second  book  of  his '  Orator ' : '  Nam  quis  nescit  pri/ 
mam  esse  historiae  legem,  ne  quid  falsi  dicere  audeat,  deinde  ne  quid  veri 


90 


GEOFROY  TORY 


non  audeat,  ne  qua  suspitio  gratise  sit  in  scribendo,  ne  qua  simulatis?' 
'  But  who  is  there  [he  says]  who  does  not  know  that  the  first  law  of  his/ 
tory  is  to  dare  to  tell  nothing  that  is  untrue,  and  to  tell  the  truth  without 
feigning,  to  the  end  that  there  may  be  no  suspicion  of  partiality  or  of 
envy  in  that  which  one  writes?'  Of  a  surety  history  should  be  entirely 
true,  not  only  for  the  reasons  already  given,  but  because,  as  Cicero  says 
a  little  before  the  place  already  quoted :  '  Historia  est  testis  temporum, 
lux  veritatis,  vita  memoriae,  magistra  vit£,  et  nuncia  vetustatis.'  'History 
[he  says]  is  the  testimony  of  the  times,  the  torch  of  truth,  the  nurse  and 
life  of  the  memory,  teacher  and  schoolmistress  of  our  life,  and  messen^ 
ger  of  antiquity.'  I  have  chosen  to  make  you  a  present  of  a  history,  and 
a  history  abridged  to  the  limits  of  a  summary,  rather  than  of  something 
else,  for  the  reason  that  while  engaging  yourselves,  you  may  see  therein, 
as  in  a  mirror,  a  thousand  excellent  things,  wherefrom  you  shall  be  able 
to  hear  and  recognize  innumerable  useful  suggestions  which  shall  do  you 
good  service  on  occasion  in  due  time  and  place.  Titus  Livius  says,  in  the 
preface  to  the  first  book  of  his  first  Decade:  'Hoc  illud  est  precipue  in 
cognitione  rerum  salubre  ac  frugiferum,  omnis  te  exempli  documenta 
in  illustri  posita  monumento  intueri,  unde  tibi  tuaeque  Reipublicae  quod 
imitare  cupias,  unde  fcedum  inceptum,  foedum  exitu  quod  vites.'  'It  is 
[he  says]  peculiarly  good  and  useful  in  the  knowledge  of  things,  to  see 
and  learn  in  noble  history  the  teachings  of  worthy  example,  by  the  imita^ 
tion  and  likeness  whereof  you  may  choose  for  yourselves  and  for  your 
country  that  which  you  ought  to  imitate  and  follow,  and  that  which  you 
ought  to  avoid  as  an  abomination,  at  the  beginning  as  well  as  at  the  end.' 
Take  therefore  in  good  part,  an  it  please  you,  this  little  work,  and  ac^ 
cept  it  with  a  gracious  face  and  expression,  as  of  your  kindliness  you  are 
wont  to  do;  even  so  you  will  invite  me,  of  your  courteous  and  singular 
grace,  henceforward  to  do  better,  with  the  aid  of  Our  Lord  lesus,  to 
whom  I  pray  that  he  will  give  to  you  all  his  love  and  blessed  grace,  at 
your  noble  and  worthy  desire. 

At  Paris,  this  x  day  of  April,  m.  d.  xxix. 

On  the  last  leaf  of  the  book  we  find  the  Pot  Casse,  with  these  words 
beneath : '  The  printing  of  this  present  book  was  finished  at  Paris,  the 
XIII  day  of  April,  m.  d.  xxix,"  for  maistre  Geofroy  Tory  de  Bourges,  who 
sells  it  in  said  Paris,  at  the  sign  of  the  Pot  Casse.' 

The  only  copy  that  I  have  seen  of  this  edition  was  then  owned  by 

I.  I  530,  new  style. 


BIBLIOGRAPHY  91 

M.  Ambroise  Didot,  who  courteously  permitted  me  to  examine  it  at 
my  leisure.  It  was  in  its  original  binding  with  the  Pot  Casse.  The  book  is 
printed  in  the  'Champ  fleury'  type. 

There  are  several  other  editions.  1  am  farmliar  with  two  of  them,  pub' 
Ushed  by  Charles  L'Angelier,  both  in  octavo,  in  1543  and  1544.  M.  Hip/ 
polyte  Boyer  mentions  one  of  154 1,  in  his  'Histoire  des  Imprimeurs  et 
Libraries  de  Bourges '  (octavo,  Bourges,  1854),  page  2  7 ;  but  I  have  not  seen 
it:  whereas  I  have  had  the  privilege  of  examining  the  other  two.  Each 
of  them  contains  112  leaves  (signatures  A  to  O),  plus  4  unnumbered 
ones.  The  book  is  illustrated  with  engravings  of  two  kinds,  in  addition 
to  the  bookseller's  mark  on  the  title-page :  the  first,  reproduced  several 
times,  represents  an  emperor,  mounted,  holding  a  battle-axe ;  it  is  not 
signed,  but  is  engraved  with  much  delicacy,  and  embellished  with  the 
little  cartouches  so  much  affected  by  Tory.  The  others  represent  busts 
of  emperors  roughly  engraved,  which  cannot  be  the  work  of  that  artist. 

La  procession  de  SoISSONS  devote  et  memorable  FAICTE  a  la  LOU/ 
ANGE  DE  DiEU,  POUR  LA  DELIVRANCE  DE  NOSSEIGNEURS  LES  ENFANS 

DE  France. — On  les  vend  a  Paris,  a  lenseigne  du  Pot  Casse,  rue  Sainct 
laques,  devant  lescu^  de  Basle,  et  en  la  halle  de  Beausse,  a  la  mesme 
enseigne  du  Pot  Casse,  devant  leglise  de  la  glorieuse  Madalaine,  avec 
privilege  pour  deux  ans. 

At  the  end  of  the  book : '  The  printing  of  this  present  book  was  fin/ 
ished  the  xxix  day  of  August  m.  d.  xxx,  and  it  is  for  sale  at  Paris  by 
maistre  Geofroy  Tory  de  Bourges.' 

SmaU  quarto  of  20  leaves  with  borders,  signatures  Aij  to  Cij. 

This  exceedingly  rare  little  volume  has  a  title/page  with  a  border  of 
arabesques  engraved  on  wood,  with  the  Lorraine  cross.  Beneath  Tory's 
mark  are  four  Latin  verses,  probably  of  his  composition,  as  are  the  six 
which  bring  the  narrative  to  a  close  and  which  are  entitled:  'Torinus 
Biturigicus  ad  Galliam.'  On  the  verso  of  the  title  is  the  preface,  dated 
August  25,  1530,  and  beginning  thus :  'Geofroy  Tory  of  Bourges  to  the 
devoted  lovers  of  good  reading  doth  bid  and  offer  humble  greeting.' 

At  the  top  of  leaf  Aij  we  read:  'The  order  of  the  grand  procession 
ordained  at  Soissons  by  the  reverend  father  in  God  Monseigneur  lehan 
Olivier,  Abbe  de  Saint  Mard  at  said  Soissons,  Councillor  to  the  King  our 

I .  Not  a  I' escu  de  Basle,  as  in  the  note  printed  by  M.  Brunet. 


92  GEOFROY  TORY 

Sire,  and  Chronicler  of  France,  on  Sunday  the  last  day  of  July  in  the  year 
of  grace  one  thousand  five  hundred  and  thirty,  to  give  thanks  to  our  Lord 
for  the  deliverance  of  our  lords  the  Children  of  France.' 

These  particulars  are  taken  from  the  fifth  edition  of  Brunet's '  Manual 
de  Libraire.'  I  have  not  been  able  to  find  the  volume,  despite  my  thorough 
search  in  the  various  libraries  of  Paris. 

14 

iEDILOQUIUM  CEU  DISTICHA  PARTIBUS  ^DIUM  URBANARUM  ET  RUSTP 
CARUM  SUIS  QVJEQVE  LOCIS  ADSCRIBENDA.  ItEM,  EpITAPHIA  SEPTEM 
DE  AMORUM  ALIQUOT  PASSIONIBUS  ANTIQUO  MORE  ET  SERMONE 
VETERI,  VIETOQUE  CONFICTA.  AuTHORE  GOTOFREDO  TORINO,  BlTU" 

RiGico. — Parisiis,  apud  Simonem  Colin^um.  1530.  Cum  privilegio 
ad  biennium.' 

Octavo;  3  sheets,  printed  in  italic.  The  title  is  set  in  an  exceedingly 
graceful  border,  borrowed  from  the  Hours  in  octavo  of  1527.  The  verso 
of  the  title  is  blank,  and  on  the  second  leaf  is  the  following  preface :  — 

Geofroy  Tory  of  Bourges  to  the  fair  reader,  greeting.' 

There  are  certain  eminent  painters  in  this  prolific  age,  most  gentle 
reader,  who,  by  their  drawings,  paintings,  and  varied  colouring,  depict  the 
tribal  gods  and  human  beings,  as  also  other  things  of  different  sorts,  with 
such  exactness  that  a  voice  and  a  soul  seem  the  only  things  wanting  to 
them ;  but  here,  most  gentle  reader,  I  offer  you,  nearly  in  the  manner  of 
these  painters,  a  house,  which  not  only  is  elegant  and  finished  in  its  out/ 
lines  and  parts,  but  speaks  prettily  and  describes  itself  part  by  part  in  a 
eulogy.  I  also  offer  you  seven  epitaphs,  composed  and  written  in  the  an' 
cient  style  and  in  very  ancient  language.  These  epitaphs  show,  in  a  way 
that  we  may  call  comprehensible,  the  various  affections  to  which  unhappy 
mortals  who  are  in  love  are  subject.  I  am,  I  say,  pleased  to  offer  you  these, 
not  that  you  may  speak  or  write  in  obsolete  words  such  as  you  here  find, 

1 .  The  license,  which  embraces  the  Economic  Xenophon,  and  is  printed  at  the  end  of  the  last- 
named  book,  extends  the  author's  rights  for  four  years,  not  for  two.  The  discrepancy  may  be 
explained  by  the  fact  that  the  jEdiloquium  was  printed  while  Tory's  application  for  the  license 
was  pending, — that  is  to  say,  in  the  first  three  months  of  I  53  i ,  which  were  then  reckoned  in 
the  year  1530,  according  to  the  old  computation.  In  fact,  the  license  is  dated  June  18,  i  5  3  i , 
which  seems  to  conflict  with  the  date  of  printing  of  the  J£diloquium.  This  circumstance  also 
explains  why  the  second  title  of  the  book  is  different  in  the  printed  volume  from  that  given  in 
the  license  (^Erotica').  See  p.  31,  supra. 

2.  [For  the  Latin  original,  see  Appendix  X,  x.'^ 


BIBLIOGRAPHY 


93 


but  that  you  may  have  before  your  eyes,  so  bright  and  full  of  charm, 
a  sample  of  antiquity,  and  may  know  that  you  have  been  thoroughly 
warned  by  me  to  be  on  your  guard  against  falling  into  the  snares  and 
perplexities  of  an  insane  love.  Farewell. 

In  addition  to  the  border  of  the  title-'page,  the  book  contains  seven  ex' 
quisite  little  engravings,  corresponding  to  Tory's  seven  '  love  epitaphs,' 
— engravings  which  are  certainly  his,  in  design  at  least,  although  un^ 
signed.  Here  is  a  list  of  them :  — 

1.  Two  hearts  pierced  by  an  arrow. 

2.  Two  hearts  in  a  circle. 

3.  Two  hearts  bound  together  by  cords. 

4.  Two  hearts  in  a  boat. 

5.  A  pig  sniffing  at  two  hearts. 

6.  Two  hearts,  a  distaff,  etc. 

7.  Two  hearts  being  kicked  by  a  horse. 

As  for  the  text  of  the  book,  it  has  been  variously  judged.  Catherinot 
was  delighted  with  it ;  but  the  author  of  the '  Menagiana'  reproves  Tory 
for  manufacturing  Latin  words  after  the  style  of  the  author  of  the « Songe 
du  Poliphile'  (see  supra,  page  55,  note  2).  We  have  seen  that  Tory  him-' 
self  did  not  recommend  such  words  to  the  reader. 

The  Bibliotheque  Nationale  has  a  copy  of  this  little  book,  still  in  its 
original  binding,  with  the  Pot  Casse. 

Science  pour  Senrichir  honnestement  et  facilement,  intitulee  : 
Leconomic  Xenophon,  nagueres  translatee  de  GREG  et  latin 
en  langaige  francoys  par  maistre  Geofroy  Tory  de  Bourges. 
[Here  the  Pot  Casse,  no.  4]  On  les  vend  a  Paris,  en  la  rue  Sainct  laques, 
devant  lescu  de  Basle,  et  devant  lesglise  de  la  Magdalaine,  a  lenseigne 
du  Pot  Casse.— Avec  privilege. 

Octavo  of  9  sheets  (signatures  a  to  /).  As  in  the  'Sommaire  de  Chro' 
niques '  of  Egnasius,  there  are  only  two  signature  marks  to  the  sheet  (one 
for  the  first  form  and  one  for  the  second) ,  and  each  page  is  enclosed  in 
a  three-'line  fillet.  The  titl&page  alone  is  set  in  a  border  of  arabesques  of 
pleasing  design. 

On  the  verso  of  the  title :  'At  the  aforesaid  sign  of  the  Pot  Casse  there 
be  also  for  sale  Thucydides  and  Diodorus,  with  several  other  excellent 


94  GEOFROY  TORY 

books  translated  from  Greek  and  Latin  into  French.  Likewise  there  be 
beautiful  Hours  and  Offices  of  Our  Lady,  large,  medium,  and  small,  illus/ 
trated  and  vignetted  in  ancient  and  modern  fashion.' 

On  the  second  leaf  is  an  explanation  of  the  words  'Economic'  and 
*Xenophon';  and  on  the  third  a  dedication,  extracts  from  which  follow. 

Geofroy  Tory  of  Bourges  to  his  most  reverend  father  in  God,  Antoine 
du  Praty  Cardinal  de  Sens,  legate  in  ordinary  and  Chancellor  of 
France y  doth  say  and  proffer  most  humble  greeting. 

After  the  book  treating  of  the  meaning  of  the  ancient  letters,  called 
'Champ  fleury,'  the  which  1  composed  in  the  French  tongue,  and  the 
'Table  of  Cebes,'  with  thirty  moral  dialogues,  likewise  the  'Sommaire 
de  Chroniques,'  the  which  I  translated  into  our  said  tongue,'  to  confer 
a  benefit  on  the  studiously  inclined,  most  reverend  father  in  God,  it  hath 
seemed  to  me  a  worthy  occupation,  if  I  should  employ  myself  in  translate 
ing  also  the  'Economic  Xenophon';  and  beneath  the  shadow  of  your 
most  honourable  wing,  first  presenting  the  same  with  humble  devotion 
unto  you,  I  have  published  the  same  and  placed  it  in  the  hands  of  all  virtu' 
ous  and  worthy  persons,  to  pass  the  time  studiously  therewith  and  therein 
to  find  good  counsel  for  directing  their  families  worthily  and  increasing 
their  wealth  by  honest  means. 

Wherefore,  most  reverend  father  in  God,  under  your  venerable  favour 
and  blessing,  the  studious  and  veritable  lovers  of  goodly  reading  and 
fruitful  occupation  will  kindly  take  this  little  book  in  their  condescend' 
ing  hands,  and  all  will  bear  you  good  will,  not  for  the  book  alone,  but  for 
that  you  are  he  to  whom  all  owe  honour  and  service,  as  to  whom  all  the 
public  welfare  and  all  Christendom  are  deeply  indebted. 

I  shall  continue  to  be,  if  it  so  please  you,  in  your  good  favour,  and  I 
will  pray  to  Our  Lord  that  he  will  give  you  his  love  according  to  your 
noble  and  estimable  desire. 

From  Paris  this  Wednesday,  the  fifth  day  of  July,  m.  d.  xxxi. 

Following  this  document,  which  fills  three  leaves,  comes  an  epistle 
from  Geofi-oy  Tory  of  Bourges  to  'studious  and  worthy  readers,'  by  way 
of  preface.  It  fills  two  leaves.  The  eighth  leaf  is  entirely  blank.  On  the 
ninth,  the  'Economic  Xenophon'  begins,  and  extends  from  to  /  4;  the 
fifth  and  sixth  leaves  of  i  contain  an  '  Epistle  from  Seigneur  Elisee  Ca/ 
lense,  native  of  Amphrates,  which  he  sent  to  Rufinius,  guardian  of  the 

I .  He  does  not  mention  the  ^diloquium,  because  it  was  in  Latin. 


BIBLIOGRAPHY  95 

Emperor  Arcadius,  replying  to  him  touching  the  matter  of  managing 
his  family  and  of  keeping  in  order  his  domestic  goods  and  chattels,  trans^ 
lated  from  Latin  into  French  by  maistre  Geofroy  Tory  de  Bourges.' 

On  the  last  leaf  but  one  appears  a  'duplicate  of  the  license  granted  to 
maistre  Geofroy  Tory  de  Bourges,  by  the  King  our  Sire,  for  this  present 
book  and  others  named  in  this  said  license,'  in  these  words: — 

Francoys,  by  the  grace  of  God  King  of  France,  to  the  Provost  of 
Paris,  Bailly  of  Rouen,  Seneschal  of  Lyon,  and  to  all  other  our  justiciars 
and  officials  or  their  deputies,  greeting.  Our  dear  wel^beloved  maistre 
Geofroy  Tory  of  Bourges,  bookseller,  dwelling  in  our  city  of  Paris,  hath 
caused  it  to  be  made  known  to  us  that  he  hath  of  late  made  and  com/ 
posed  in  the  Latin  tongue  a  certain  book  entitled;  '^diloquium  et 
Erotica";  likewise,  that  he  hath  translated  from  Greek  and  Latin  into 
French  the  'Economic  Xenophon';  which  books  he  would  fain  print, 
or  cause  to  be  printed,  if  it  should  be  our  pleasure  to  permit  him  so  to  do, 
at  the  same  time  causing  all  tradesmen,  booksellers,  printers,  and  other 
persons  whomsoever,  to  be  forbidden  to  print  or  to  expose  for  sale  in  any 
manner  the  said  books;  and  that,  if  any  should  be  brought  hither  by  for/ 
eigners,  other  than  those  of  the  said  Tory's  printing,  they  may  not  be 
sold  within  our  realm  during  the  period  of  the  four  years  reckoned  from 
the  date  of  the  printing  of  said  books,  with  an  extension  for  a  like  period 
for  certain  other  books,  illustrations,  and  vignettes  to  be  printed  in  the 
'Heures  et  Office  de  Nostre  Dame'  mentioned  in  two  licenses  hereto/ 
fore  granted  to  him  by  our  favour.^  Wherefore,  having  regard  and  con/ 
sideration  for  the  time  and  toil  which  it  hath  cost  the  said  Tory  to  com/ 
pile  and  translate  the  said  books,  and  for  such  expense  as  it  shall  be  his 
pleasure  to  incur  in  printing  the  same, — for  these  reasons  we  have  given 
and  granted  to  him  permission  to  print  or  cause  to  be  printed  and  to  offer 
for  sale  the  said  books  above  mentioned  for  four  years  following  and  sue/ 
ceeding  the  printing  thereof.  And  so  we  command  you,  that  by  virtue 
of  this  our  present  favour,  warrant  and  permission,  you  do  allow  the  said 
petitioner  to  use  and  enjoy  the  same,  and  do  forbid  in  our  name  all 
tradesmen,  printers,  booksellers,  to  print  or  cause  to  be  printed,  or  to  ex/ 
pose  for  sale  in  any  manner  the  said  books  during  four  years,  on  pain  of 

1 .  In  the  printed  volume  of  the  ^diloquium,  Tory  modified  this  sub-title ;  for  it  might  well 
have  marred  his  epitaphs  with  a  suspicion  of  obscenity  which  was  very  far  from  his  thought. 

2.  On  September  23,  1 524,  and  September  5,  1 526.  Tory  requested  an  extension  of  the 
licenses  for  his  Hours  because  he  was  about  to  reprint  them.  The  second  edition  of  the  quarto 
Hours  appeared  on  October  20,  1 5  3 1 . 


96  GEOFROY  TORY 

twenty^five  silver  marcs  to  be  paid  to  us,  and  confiscation  of  the  books 
as  to  which  they  shall  have  been  guilty ;  for  such  is  our  pleasure.  Given  at 
Vannes,  the  xviii  day  of  June  in  the  year  of  grace  one  thousand  five  hun^ 
dred  thirty 'one,  and  of  our  reign  the  seventeenth. — Signed,  Heruoet. 

On  the  last  page:  'The  printing  of  this  present  book  was  finished  by 
maistre  Geofroy  Tory  of  Bourges  Wednesday  the  fifth  day  of  July  in  the 
year  m.  d.  xxxi.  And  it  is  for  sale  at  Paris,  opposite  the  "  Escu  de  Basle," 
Rue  Sainct  laques,  and  opposite  the  Church  of  La  Magdeleine,  at  the 
sign  of  the  ("a  leeseigne  [sic]  du")  Pot  Casse.' 

The  description  we  have  given  is  that  of  the  very  complete  copy 
owned  by  M.  Ambroise  Didot.  M.  Chedeau,  an  attorney  at  Saumur, 
owned  a  copy  the  title^'page  of  which  is  different.  It  reads  thus:  — 

Economic  de  Xenophon,  cest  a  dire:  Domestiques  Institutions 

ET  EnSEIGNEMENS  POUR  BIEN  REGIR  SA  FAMILLE  ET  AUGMENTER 
SON  BIEN  PARTICULIER.  IaDIS  COMPOSE  EN  GREG  PAR  LANCIEN  AU^ 
THEUR  XeNOPHON,  ET  TRANSLATE  DE  GREC  ET  LATIN  EN  LANGAIGE 

FRANCOIS  PAR  MAISTRE  ToRY  DE  BouRGES.  [Here  the  Pot  Casse.] 
Imprimees  a  Paris,  a  lenseigne  du  Pot  Casse,  par  ledict  maistre 
Geofroy  Tory,  marchant  libraire  et  imprimeur  du  roy. — Avec  privi/ 
lege. 

This  title-page  has  the  same  border  and  the  same  form  of  the  Pot 
Casse  as  the  other  copy;  but  it  has  not  on  the  verso  the  little  list  of 
other  publications  which  we  find  on  the  latter,  and  which  we  have  repro' 
duced  above.  As  the  first  signature  (A)  of  M.  Chedeau's  copy  lacks  four 
leaves,  we  cannot  say  whether  there  are  other  differences  in  that  signa^ 
ture;  but  as  to  the  other  signatures,  B  to  I,  they  are  identical  in  the  two 
copies.  Thus  we  find  in  both  the  error  to  which  we  called  attention  above 
in  the  word  'enseigne'  [printed  'eeseigne'],  in  the  final  note;  better  still, 
this  error  has  been  corrected  by  hand,  in  the  same  way,  in  both  copies, 
probably  by  Tory  himself.  Which  of  the  two  is  the  earlier?  I  should  not 
venture  to  say;  however,  it  seems  to  me  that  the  additional  matter  on 
the  verso  of  the  title-page  of  M.  Didot's  copy  tends  to  prove  that  it  is 
the  later  of  the  two.  In  any  event,  the  interval  between  the  two  impress 
sions  cannot  have  been  a  long  one.  If  I  interpret  rightly  certain  circum^ 
stances,  the  first  signature,  which  had  been  kept  in  type  (as  is  proved 
by  a  number  of  typographical  defects  which  appear  in  both  copies) ,  was 
reprinted  at  the  same  time  with  the  last  signature.  Tory's  dedicatory 


BIBLIOGRAPHY 


97 


epistle,  in  M.  Didot's  copy,  is  dated  July  5,  the  day  when  the  printing 
of  the  book  was  finished  according  to  the  final  note.  Now,  to  make  it  pos^ 
sible  for  him  to  affix  this  date  to  his  preliminary  epistle,  we  must  con^ 
cede  that  it  had  been  kept  in  type  until  the  book  was  finished.  But  may 
it  not  be  that  no  date  was  affixed  on  the  first  signature  of  the  first  im^ 
pression  ?  That  is  a  question  that  I  am  unable  to  answer,  in  view  of  the 
imperfect  state  of  M.  Chedeau's  copy.  It  may  be,  too,  that  the  first  sig^ 
nature  was  reprinted  in  order  to  announce  Tory's  new  address,  he  having 
very  recently  installed  his  printing  establishment  in  the  famous  old  Halle 
au  Ble  de  Beauce,  on  Rue  de  la  Juiverie,  opposite  the  Church  of  La  Made' 
leine.  For  it  will  be  observed  that  this  address  does  not  appear  on  the  title/ 
page  of  M.  Chedeau's  copy,  although  we  do  find  it  in  the  note  on  the 
last  page. 

This  volume  is  printed  in  the  'Champ  fleury'  type. 

16 

POLITIQUES  DE  PlUTARCHE,  CEST  A  DIRE :  CiVILES  INSTITUTIONS  ET 
ENSEIGNEMENS  POUR  BIEN  REGIR  LA  CHOSE  PU[BLIQUE],  IADIS  COM'' 
POSEES  EN  GREG  PAR  PlUTARCHE,  ET  DEPUIS  TRANSLATEES  DE  GREG 
EN  LATIN  PAR  LE  SEIGNEUR  NiGOLE  SaGUNDIN,  ET  A  PRESENT  DE 
LANGUE  GREGQUE  ET  LATINE  EN  LANGAIGE  FRANCOIS  PAR  MAISTRE 

Geofroy  Tory  de  Bourges.  —  Dediees  par  le  dit  autheur  a  lem*- 
pereur  Trajan,  et  par  le  translateur  en  langaige  francois  a  tresilustre 
et  plain  de  bon  espoir  en  toute  heureuse  vertu,  son  seigneur,  Francois 
de  Vallois,  Daulphin  de  France.  [Here  the  Pot  Casse,  no.  4.]  Impri^ 
mees  en  Paris,  a  lenseigne  de  Pot  Casse,  par  maistre  Geofroy  Tory  de 
Bourges,  marchant  libraire  et  imprimeur  du  Roy. — Avec  privilege 
tresample." 

Octavo,  of  8  preliminary  unnumbered  leaves,  and  67  numibered  leaves 
of  text  (signatures  A  to  lij).  The  pages  have  no  borders.  There  are  mar/ 
ginal  remarks.  The  type  and  the  ornamental  letters  are  the  same  as  in 
'  Champ  fleury.' 

On  the  second  leaf  is  the  following  dedicatory  epistle: — 

Geofroy  Tory  de  Bourges  to  his  most  debonair  lord,  Francois  de  Vah 
lois,  Daulphin  de  France,  doth  say  and  proffer  most  humble  greeting. 

I.  We  have  not  this  '  privilege  tresample,'  which  probably  was  printed  in  some  other  of 
Tory's  books,  now  lost.  In  truth,  that  accomplished  man  was  accustomed  to  have  several 
books  included  in  each  of  his  hcenses. 


98  GEOFROY  TORY 

My  lord,  while  translating  this  little  book,  I  have  oftentimes  reflected  to 
whom  of  all  my  good  friends  I  should  the  sooner  dedicate  it,  or  whether 
I  should  dedicate  it  (as  I  have  heretofore  done  with  certain  other  books 
which  I  have  composed  and  translated  into  the  French  tongue)  to  all 
studious  and  genuine  lovers  of  excellent  reading  and  worthy  pastime. 
But  in  fine,  knowing  thy  virtuous  nature,  likewise  the  mirror  of  all  good' 
ness  and  perfect  nobility  wherein  thou  dost  abundantly  excel,  and  art 
ever  disposed  for  every  blessed  and  goodly  enterprise,  I  have  considered 
that  before  all  other  living  men,  of  what  state  soever  they  may  be,  it  is 
to  thy  glorious  lordship  that  I  ought  and  am  in  duty  bounden  to  conse^ 
crate  it,  since  it  is  thou  under  whom  the  public,  not  of  France  alone,  but 
of  all  Christendom,  has  its  hope  of  living  hereafter  in  all  felicity.  I  dedi^ 
cate  it  to  thee,  not  forgetting  that  thou  hast  thy  noble  father  the  King, 
who,  as  Philip  of  Macedon  did  of  yore  to  his  son  Alexander,  doth  set  be*' 
fore  thee  noble  and  goodly  instruction  and  examples  of  upright  living ; 
but  also  to  the  end  that  thou  mayst  by  times  amuse  thyself  and  read  the 
excellent  tales  and  teachings  which  are  marshalled  herein  as  in  a  well/ 
chosen  library ;  and  also  that,  following  thy  noble  and  generous  example, 
the  studiously  inclined  may,  by  reading  the  same,  worthily  profit  thereby. 
Thou  mayst  find  herein  many  excellent  passages,  which  will  sometimes 
help  to  comfort  thee,  and  will  be  in  some  degree  the  means  whereby 
thou  and  thy  Realm,  v^th  the  grace  of  God,  wilt  ever  prosper  more  and 
more. 

Paris,  this  xiiii  day  of  June,  m.  d.  xxxii. 

On  the  verso  of  the  last  leaf :  'The  printing  of  this  present  book  was 
finished  Saturday  the  xv  day  of  June,  m.  d.  xxxii,  by  maistre  Geofroy 
Tory  of  Bourges,  bookseller  and  king's  printer,  living  in  Paris,  opposite 
the  church  of  La  Magdeleine,  at  the  sign  of  the  Pot  Casse.'  [Here  the 
Pot  Casse,  no.  9.] 

I  have  seen  two  copies  of  this  book,  one  in  M.  Didot's  library,  the  other 
in  M.  Alkan's. 

Another  edition  was  published  at  Lyon,  in  1534,  in  i6mo,  by  Guil^ 
laume  BouUe  (or  Boulle,  for  the  name,  in  accordance  with  the  custom 
of  the  time,  has  no  accent  on  the  e).  This  is  undoubtedly  the  one  men^ 
tioned  by  Duverdier '  as  having  been  printed  at  Paris,  in  octavo,  in  1530, 
by  Guillaume  Boulle.  In  this  statement  there  are  as  many  errors  as  there 
are  words.  Guillaume  Boulle's  edition  was  not  printed  in  Paris,  it  was  not 

I .  Bibllotheque  Frartfosse,  article  *  Geofroy  Tory. ' 


BIBLIOGRAPHY  99 

an  octavo,  and  it  cannot  be  dated  1530,  as  the  first  edition  did  not  appear 
until  1532.  Unfortunately  La  Caille  did  not  take  the  trouble  to  verify 
Duverdier's  statement,  and  he  makes  Guillaume  Boulle  a  bookseller/" 
printer  of  Paris.'  Lottin,  in  his  'Catalogue  des  Libraries  et  Imprimeurs 
de  Paris,' ^  has  not  failed  to  copy  La  Caille,  and  to  mention,  under  the 
year  1530,  a  Guillaume  Boulle,  bookseller  and  printer  in  Paris,  side  by 
side  with  Jean  Boulle,  bookseller.  Was  this  Jean,  whom  La  Caille  calls 
simply  Boulle,  and  whom  he  places  in  1543,  a  kinsman  of  Guillaume? 
I  cannot  answer.  However  that  may  be,  here  is  a  full  description  of  the 
edition  of  the  «Politiques'  published  by  the  latter.  It  is  a  i6mo  volume 
containing  8  leaves  of  front  matter  and  104  of  text.  On  the  title-page, 
which  is  embellished  by  a  roughly  executed  border,  are  these  words :  — 

'  Politiques  ou  Civiles  Institutions  pour  bien  regir  la  Chose  publ.,  iadis 
composees  en  grec  par  Plutarche,  et  despuys  translatees  en  francoys  par 
maistre  Geofroy  Tory,  et  dediees  par  ledict  translateur  a  tres  illustre 
prince  et  plein  de  bon  espoir  en  toute  heureuse  vertu,  Francoys  de  Val^ 
loys,  Daulphin  de  France. 

'  Disputation  de  Phavorin,  philosophe,  nouvellement  y  a  este  adioustee. 
Item  chapitre  demonstrant  combien  sont  destatz  de  la  Chose  publ. 

'On  les  vend  a  Lyon,  en  la  rue  Merciere,  a  la  boutique  de  Guillaume 
Boulle,  libraire,  a  la  fleur  de  lys  d'or. — Avec  privilege.  1534.' 

On  the  verso  of  the  title-page  is  an  engraving  representing  Justice, 
with  this  inscription:  'Justitia  in  sese  virtutes  continet  omnes.' 

On  the  following  leaf  is  the  dedication  to  the  Dauphiru 

At  the  end  of  the  volume  is  the  mark  of  Guillaume  Boulle,  or  Boulle. 

There  is  a  copy  of  this  little  book  at  the  Arsenal,  and  also  one  in  the 
Bibliotheque  Nationale.  The  latter  lacks  the  final  leaf  bearing  the  book' 
seller's  mark,  which  some  collector  (!)  has  cut  out,  to  enrich  his  col-' 
lection. 

17 

La  Mouche  de  Lucian,  et  la  Maniere  de  parler  et  se  taire  [de 
Volaterran].  [Pot  Casse,  no.  6.]  La  Mousche  est  translatee  de 

GREG  ETDE  latin  EN  LANGAIGE  FRANCOIS.  La  MaNIERE  DE  PARLER 
ET  SE  TAIRE  EST  TRANSLATEE  SEULLEMENT  DE  LATIN  EN  FRANCOIS. 

Le  tout  par  maistre  Geofroy  Tory  de  Bourges,  imprimeur  du  Roy  et 
libraire  jure  en  I'universite  de  Paris. — On  les  vend  a  Paris  devant 
I'eglise  de  la  Magdeleine,  a  I'enseigne  du  Pot  Casse. 

1.  Histoire  de  rimprimerie,  Y>-  loz. 

2,  Vol.  i,  p.  24,  Lottin  also  writes  Beulle. 


100 


GEOFROY  TORY 


Eight  octavo  leaves,  without  date  of  printing  or  license.  This  pamphlet 
was  undoubtedly  printed  by  Tory  himself,  subsequent  to  February  22, 
1533;  for  he  assumes  the  title  of  bookseller  to  the  University,  which  he 
did  not  obtain  until  that  date.  Moreover,  the  acute  accent,  the  apostrophe 
and  the  cedilla  are  used  therein,  and  he  did  not  make  use  of  those  marks 
until  1533.  Lucian's  '  La  Mouche'  [The  Fly]  fills  1 1  pages;  the ' Maniere 
de  Parler'  (an  extract  from  the  eighteenth  book  of  Volaterran's  'Philo' 
sophy')  3  pages.  The  first  leaf  has  the  title,  and,  on  the  verso,  a  note 
*aux  lecteurs.'  The  type  used  is  the  same  as  in 'Champ  fleury.' 

18 

Les  reigles  generales  de  lorthographe  du  langaige  francoys. 

Such  is  the  title  of  a  book  written  by  Tory,  of  which  no  trace  remains. 
We  do  not  know  even  whether  it  was  printed,  although  it  is  included 
in  the  license  of  the  first  edition  of  the  'Sommaire  de  Chroniques'  of 
Egnasius,  dated  September  28,  1529.  (See  page  88.)  Doubtless  it  was  the 
complement  of  *  Champ  fleury,'  from  a  grammatical  standpoint. 

Translation  of  the  hieroglyphs  of  Orus  Apollo;  a  manuscript 
given  by  Tory  to  'a  noble  and  excellent  friend'  of  his.' 
It  is  not  known  whether  this  translation  was  printed.  There  are  in 

existence  several  old  translations  of  Orus  Apollo,  but  they  do  not  bear 

Tory's  name. 

I.  Champ Jieury,  fol.  43  recto. 


SECTION  II.   BOOKS  OF 
HOURS  PUBLISHED 
BY  TORY  FOR 
HIMSELF. 


HOURS  OF  THE  VIRGIN. 
Quarto,  in  Latin. 
This  is  a  superb  volume,  printed 
by  Simon  de  Colines,  with  borders 
and  illustrations  '  a  I'antique,'  per/ 
feet  in  taste  and  in  the  execution 
of  the  engravings.  The  book  was, 
in  all  probability,  printed  by  Tory 
and  CoUnes  on  joint  account,  as 
copies  are  extant  in  the  name  of 
each. 

Following  are  descriptions  of 
three  sorts  of  copies  which  I  have 
seen,  and  which  have  been  mistake 
enly  assumed  by  bibliographers  to 
be  distinct  editions. 


lOI 


102 


103 


The  first  page  is  ornamented  with  a 
special  border,  which  we  shall  find  in 
others  of  Tory's  books.  The  only  copy 
of  this  form  of  the  book  which  I 
have  had  an  opportunity  to  examine, 
namely,  the  one  in  the  Bibliotheque 
de  I'Arsenal,  although  it  is  bound  in 
paper  only,  has  a  beautiful  drawing  in 
miniature  which  occupies  the  whole 
of  this  page.  It  represents  two  print'' 
ers  working  at  a  press,  and  a  composi^ 
tor  in  front  of  his  case.  None  of  the 
printing  has  been  retained,  save  the 
five  lines  of  the  title,  'Horas,'  etc., 
which  are  enclosed  in  a  scroll  hang^ 
ing  from  the  upper  branches  of  two 
trees  which  form  the  frame  of  the 
miniature.  I  do  not  know  the  name  of 
the  fortunate  recipient  of  this  gift.  One 
sees  only  his  initials  (R.  P.)  in  a  heart 
above  the  press. 

On  the  verso  of  the  title  we  find,  in 
accordance  with  custom,  the  table  of 
Easter  Days,  etc.,  from  152310  155 1. 


104 


The  border  of  the  page  has,  in  three 
small  reserved  scrolls  in  the  midst  of 
the  arabesques,  the  words :  geofroy 
— TORY — SIC  VT  NGN  PLVS,  which  re'' 
cur  from  time  to  time  on  the  follow-' 
ing  pages.  This  border  is  reproduced 
on  the  title-page  of  each  part  of  the 
book. 

The  license  occupies  the  whole  of 
both  sides  of  the  second  leaf,  which  is 
without  borders,  for  a  special  reason : 
it  is  printed  in  gothic  type  of  the 
period  (to  imitate  the  script  of  the 
diploma)  and  that  style  of  type  would 
have  quarrelled  with  the  antique  ara^ 
besques  of  Tory,  whose  refined  taste 
avoided  incongruities  of  that  sort. 

An  extract  from  the  license  fol' 
lows :  — 

'  Francoys,  by  the  grace  of  God 
King  of  France,  to  the  Bailli  and 
Provost  of  Paris,  the  Seneschal  of 
Lyon,  and  all  other  justiciars,  officials, 
or  their  deputies,  and  to  each  of  them 


105 


in  his  jurisdiction,  and  as  to  him  shall 
appertain,  greeting.  Our  dear  and 
well-'beloved  maistre  Geofroy  Tory, 
bookseller,  living  at  Paris,  hath  now 
caused  it  to  be  made  known  and  shown 
unto  us  that  he  hath  of  late  made  and 
caused  to  be  made  certain  pictures 
and  vignettes  "  a  I'antique,"  and  Hke^ 
wise  certain  others  "  a  la  moderne,"  to 
the  end  that  the  same  may  be  printed 
and  made  use  of  in  divers  books  of 
Hours,  whereupon  he  hath  employed 
himself  a  very  long  time,  and  hath 
made  divers  great  expenditures,  and 
outlay.  Wherefore,  and  to  enable  him 
to  recover  a  part  of  the  outlay  that  he 
hath  made  and  undergone  while  em^' 
ployed  in  procuring  the  aforemen^ 
tioned  drawings  and  vignettes  to  be 
made ;  and  to  the  end  that  he  may  have 
the  wherewithal  to  live  with  more 
ease,  he  hath  most  humbly  caused  to 
be  laid  before  us  his  petition  and  re^ 
quest  that  he  alone  and  no  other  may 


107 


I 


booksellers  be  forbidden  to  make  or  to 
cause  to  be  made  any  impression  there' 
of,  whether  on  a  white,  grey,  or  red 
field,  not  omitting  any  of  the  said  black 
vignettes,  or  to  reduce  them  "a  petit 
ou  grant  pied";  humbly  beseeching 
us  to  that  end.  Wherefore  we,  having 
duly  considered  these  matters,  and 
generously  acceding  to  the  petition 
and  request  of  the  said  petitioner,  and 
likewise  in  recognition  of  his  learning, 
literary  talent,  and  the  excellent  and 
praiseworthy  report  made  to  us  of  his 
person,  and  of  his  talents,  compete 
ency,  loyalty,  wisdom,  and  goodly 
diligence,  have  granted  to  him  the 
privilege  that  he  and  no  other  may 
print  and  cause  to  be  printed  the  said 
vignettes  and  drawings,  and  do  forbid 
all  booksellers  and  printers  whom/ 
soever  within  our  realm,  to  make  or 
procure  to  be  made  and  printed  the 
said  vignettes  and  drawings,  on  pain  of 
a  fine  of  five  and  twenty  silver  marks 


to  be  paid  to  us,  and  confiscation  of 
the  Hours,  vignettes,  and  pictures  by 
them  so  printed.  Given  at  Avignon, 
the  XXIII  day  of  September,  in  the 
year  of  grace  one  thousand  five  hun^ 
dred  twenty^four,  and  of  our  reign 
the  tenth.' 

The  third  leaf  contains  some  details 
concerning  the  calendar,  which  be^ 
gins  on  the  fourth  leaf  and  ends  on  the 
ninth.  The  border  of  the  lower  part 
of  leaf  Avij  is  turned  upside  down. 
The  Hours  begin  on  the  tenth  leaf. 

The  book  is  a  quarto,  but  the  sheets 
are  folded  two  by  two,  after  the  style 
introduced  by  Pierre  SchoifFer  him^ 
self,  which  gives  it  the  appearance  of 
an  octavo.  The  signatures  run  from 
A  to  T,  which  makes  eighteen  folds, 
or  one  hundred  and  forty^four  leaves. 

The  engravings  consist  of  sixteen 
complete  borders,  one  of  which  is  re^ 
peated  on  the  recto  and  verso  of  each 
of  the  first  sixteen  leaves,  embracing 


109 


thirty/two  pages  of  text,  after  which 
the  same  decorations  reappear.  They 
are  composed  of  arabesques  in  which, 
from  time  to  time,  these  words  ap 
pear  at  the  sides:  soli  dec — lavs — 

HONOR  —  GEOFROY  —  TORY  —  NON 

PLVS.  At  the  foot  of  certain  pages  we 
see  a  crowned  F  (the  first  letter  of  the 
king's  name) ,  a  crowned  C  (the  first 
letter  of  the  name  of  Queen  Claude, 
daughter  of  Louis  XII),  and  a  crowned 
dolphin  (daulphin) ,  in  allusion  to  the 
title  of  the  king's  eldest  son.  Queen 
Claude  died  before  the  book  was  fin^ 
ished,  perhaps  even  before  the  printing 
was  begun ;  but  Tory  did  not  choose  to 
waste  the  woodcut  of  her,  so  it  was  pre/ 
served  and  was  used  for  more  than  fif" 
teen  years,  as  we  shall  see.  These  three 
subjects  are  reproduced  in  Dibdin's 
'Bibliographical  Decameron'  (vol.  i, 
page  99) ;  there  are  two  others  in  the 
same  work  (vol,  ii,  page  65).  At  the 
foot  of  the  other  pages  are  arabesques, 


1 10 


among  which  we  find  the  Pot  Casse, 
no.  2.  In  the  text  there  are  thirteen 
large  drawings,  which  harmonize  ad^' 
mirably  with  the  borders.  All  the  il-' 
lustrations,  or  almost  all,  borders  and 
drawings  alike,  are  signed  with  the 
Lorraine  cross. 

The  book  ends  on  the  recto  of  a  leaf 
on  the  verso  of  which  is  this  colo-' 
phon:  ExcvDEBAT  Simon  Colin^vs 
Parisiis  e  regione  scholarvm  de-- 

CRETORVM :  ANNO  A  ChRISTI  IeSV  NA^ 
TIVITATE  M.  D.  XXV.  XVII.  GAL.  FEBR. 

This  date  coincides  with  January  i6, 
1525.  We  have  seen  that  the  title-page 
bears  the  date  1524,  that  is  to  say,  the 
year  when  the  book  was  begun.  These 
two  dates,  cited  separately,  have  led 
bibliographers  astray,  and  have  given 
rise  to  a  theory  that  there  are  two 
different  editions  of  the  same  book. 

Here  and  there  throughout  the  vol^ 
ume  we  find  figures  in  the  borders. 
These  figures  are :  16,  which  appears 


on  the  inner  side  of  leaves  Ai  verso  and 
Cvij  recto  and  verso ;  3,  on  the  outer 
side  of  the  border  of  leaves  Aiiij  recto 
and  verso,  and  Ciiij  recto  and  verso; 
10,  at  the  foot  of  leaf  Biij;  12,  on  the 
outer  side  of  the  border  of  leaf  Bvi. 
Here  and  elsewhere,  to  make  my  de^ 
scriptions  more  clear,  these  books  hav^ 
ing  no  pagination,  I  assign  signature 
letters  to  the  eight  sheets  of  each  fold ; 
but  it  is  common  knowledge  that  they 
actually  appear  on  the  first  four  only.  I 
feel  justified  in  concluding  from  these 
figures  that  at  first  certain  numbers., 
running  from  i  to  16,  were  engraved, 
and  repeated  on  each  compartment 
of  the  same  border,  in  order  to  enable 
the  compositor  to  assort  the  pages 
properly.  Later  these  numbers  were 
probably  deemed  to  be  of  no  use  and 
were  cut  off.  The  four  that  I  have  no^ 
ticed,  having  inadvertently  been  left, 
were  finally  removed  before  the  prints 
ing  was  concluded.  The  scheme  of  re^ 


112 


the  two  similar  pages  were  never  seen 
at  the  same  time.  This  required  no 
more  work,  for  it  is  very  clear  that  the 
borders  were  not  added  to  the  pages 
until  the  very  moment  of  printing,  so 
that  they  might  not  be  exposed  to  the 
accidents  inherent  in  the  preparatory 
handling.  M  .Willemin  has  reproduced 
several  specimens  of  these  borders  in 
his  'Monuments  Frangais  Inedits'  (fo^ 
lio,  1839),  page  296. 

The  book  contains,  as  we  have  said, 
thirteen  large  cuts  (all  of  which  ex^ 
cept  the  second  are  signed  with  the 
Lorraine  cross) .  They  are  as  follows : 

I  and  2.  The  Angelic  Salutation,  in 
two  plates  facing  each  other. 

3.  The  Visitation  of  the  Virgin,  with 
the  device  'non  plus'  in  a  scroll  sus^ 
pended  from  a  tree. 

4.  The  Birth  of  Jesus. 

5.  The  Adoration  of  the  Shepherds. 

6.  The  Adoration  of  the  Magi. 

7.  The  Circumcision. 


114 


8.  The  Flight  into  Egypt. 

9.  The  Coronation  of  the  Virgin. 
10.  The  Crucifixion  of  Jesus.  This  de/ 
sign  has  five  compartments.  In  addi/ 
tion  to  the  Crucifixion,  there  are  bees 


115 


at  work,  birds  building  their  nests,  a 
peasant  ploughing  a  field,  and  another 
shearing  sheep.  Each  of  these  four  is 
accompanied  by  the  device '  sic  vos  non 
vobis.' 

1 1.  The  Descent  of  the  Holy  Spirit 
on  the  Apostles,  with  the  device  'non 
plus'  on  the  pediment  of  a  temple. 

12.  The  Penance  of  David,  with  the 
same  device,  and  the  word  'peccavi' 
in  a  scroll  suspended  from  a  tree. 

1 3.  The  Triumph  of  Death.  This  last 
cut  represents  Death,  armed  with  a 
spear  treading  on  corpses.  A  crow  on 
a  tree  above  him  has  the  words  'eras, 
eras,'  issuing  from  its  beak.  At  either 
side  are  the  devices '  non  plus '  and '  sic 
ut,'  on  neighbouring  buildings. 

II.  There  are  two  sorts  of  copies  in 
Tory's  name.  The  first  are  identical  in 
every  respect  with  those  of  Colines, 
except  as  to  the  first  page,  where,  after 
the  title:  'Horae . . .  habentur/ we  find 
this  imprint:  'Parisiis,  apud  Magis-' 


trum  Gotofredum  Torinum  Bituri^ 
cum.  Ad  insigne  vasis  efFracti,  in  via 
lacobaa ;  gallice,  Au  pot  casse,  en  la 
rue  sainct  laques.' 

Here  the  Pot  Casse,  no.  3,  with  the 
device 'menti  bonas  deus  occurrit'  at 
the  top,  and  'non  plus'  at  the  foot. 

There  is  no  date  on  the  title-page, 
but  there  is  one  on  the  last  page, — 
the  same  that  we  find  in  the  copies  in 
Colines's  name  (see  page  1 1 1).  I  have 
seen  a  copy  of  this  book  in  the  collec-' 
tion  of  M.  Double,  who  kindly  allowed 
me  to  study  it  in  detail.  It  is  still  in  its 
antique  binding,  and  on  the  covers, 
in  large  roman  letters,  is  this  device, 
which  is  believed  to  be  that  adopted 
by  the  unfortunate  Dolet: 
d[omi]ne  redime  me  a  calvmniis 
hominvm  vt  cvstodiam 
man data  tva. 

d[0MI]nE  IVSTICIA  TVA  IVSTICIA 

IN  eternvm  et  lex 

TVA  VERITAS. 


117 


ii8  GEOFROY  TORY 

in.  Other  copies  in  Tory's  name  have  a  title-page  in  French,  with  no 
border.  This  title-page  reads  as  follows:  — 

'Heures.a  la  louange  de  laVierge  marie,  selon  lusage  de 
Rome.  Esquelles  sont  contenues  les  quatre  Passions,  Le  seruice 

COMMUN  POUR  le  TEMPS  DAPRES  PaSQUES,  ET  POUR  LE  CaRESME,  Le 
SERUICE  DE  LaDUENT,  Et  DUDIT  AdUENT  JUSQUES  A  LA  PURIFICATION 

NOSTRE  Dame.  Pareillement,  les  heures  de  la  Croix,  et  du  Sainct 
Esperit,  Les  sept  Pseaumes,  Vespres,  Vigiles,  et  Commendaces 
DES  Trespassez,  avec  raisonnable  nombre  doraisons,  et  suffrages 
des  sainctz  et  sainctes. 

A  la  fin  sont  les  heures  de  la  Conception  nostre  Dame,  et  le  symbolede 
Athanase.  Le  tout  au  long,  sans  y  rien  requerir,  est  tres  correcte,  en  bonne 
orthographie  de  poinctz,  daccens,  et  diphthongues  situez  aux  lieux  a  ce 
requis.  Et  sont  a  vendre  par  Maistre  Geofi-oy  Tory  de  Bourges,  libraire  de^ 
mourant  a  Paris  sus  Petit  pont,  ioignant  Ihostel  Dieu,  a  lenseigne  du  Pot 
Casse.'  Then  follows  the  device  '  menti  bons  devs  occvrrit,'  and  the  Pot 
Casseinthe  same  form  as  that  on  the  title^age  of  the  preceding  number. 

The  order  of  the  contents  of  the  first  signature  is  here  a  little  different 
from  that  followed  in  numbers  one  and  two.  On  the  verso  of  the  title 
the  license  begins,  set  in  roman  letters,  which  Tory  preferred  to  the 
gothic;  it  occupies  two  pages,  as  in  the  other  copies,  but  those  pages  are 
supplied  with  the  antique  borders.  On  the  verso  of  the  second  leaf  is 
the  table  of  Easter-'Days,  from  1525  to  1552.  It  is  more  conveniently 
placed  here  than  on  the  verso  of  the  title,  where  it  is  separated  from 
the  calendar  by  the  license.  Advantage  was  taken  of  the  reprinting  of 
the  first  signature  to  remove  the  figure  16  from  the  border  of  the  page 
containing  the  table  of  Easter^Days,  and  to  set  right  the  lower  section 
of  the  border  of  page  A  vij  recto,  which  is  upside  down  in  the  other 
copies.  The  figure  3  was  not  removed  from  page  A  iiij,  probably  because 
the  second  side  of  that  signature  was  not  reprinted ;  but  the  10  has  dis' 
appeared  from  page  B  iij,  which  would  seem  to  show  that  the  second 
side  of  signature  B  was  reprinted.  The  first  side  of  signature  T  was  re^ 
printed  also,  in  order  to  change  the  colophon  on  the  last  page,  for  which 
this  is  substituted:  'Ces  presentes  heures  a  lusage  de  Rome  furent  ache-' 
uees  de  imprimer  le  Mardy  dixseptiesme  iour  de  Ianvier  Mil  cinq 
cens  vingtcinq:  pour  maistre  Geofroy  Tory  de  Bourges,  libraire  demo' 
rant  a  Paris  sus  Petit  pont,  ioignant  Ihostel  Dieu,  a  lenseigne  du  Pot 
Casse.'  (The  words  printed  in  small  capitals  are  printed  in  red  in  the 
book.)  This  is  followed  by  the  mark  no.  5,  with  the  two  mottoes 


BIBLIOGRAPHY  119 

('menti/etc,  and  'sic,' etc.),  which  accompany  that  mark  on  page  43  of 
'Champ  fleury.'  (See  supra,  p.  21.) 

Tory  had  several  copies  printed  on  vellum;  I  myself  have  seen  one  of 
them,  belonging  to  the  collection  of  M.  Sauvageot.' 

It  will  be  seen  from  the  date  affixed  to  these  copies  that  they  were 
not  printed  until  the  day  following  the  printing  of  those  which  bear  the 
name  of  Colines;  for  it  is  worth  noting  that  the  Tuesday,  January  17, 
is  of  1525,  and  not  of  1526  new  style,  as  would  have  been  the  case  had 
the  'use  of  Paris'  been  followed.  But  Tory  thought,  doubtless,  that  he 
should  follow  the  Roman  usage  in  a  book  of  Hours  to  the  use  of  Rome. 

I  imagine  that  this  reprinting  of  three  signatures  of  the  Hours  of 
1524-1525  was  done  mainly  to  direct  the  attention  of  the  public  to 
Tory's  new  establishment  'sus  Petit  Pont.'  And  this  circumstance  leads 
me  to  believe  that  it  was  done  subsequent  to  January  17,  1525,  for  it  is 
not  conceivable  that  Tory  would  have  left  his  former  address,  rue  Saint' 
Jacques,  on  the  copies  printed  as  late  as  January  16,  if  he  was  to  be  set' 
tied  'sus  Petit  Pont'  on  the  17th.  He  retained  that  date  on  the  reissue, 
although  it  really  took  place  later,  in  order  to  conform  to  the  terms  of 
the  license,  which  imposed  upon  the  beneficiary  the  duty  of  specifying 
on  the  books  the  date  when  they  were  first  published,  so  that  the  date 
of  its  expiration  might  be  fixed,  unless  the  term  should  be  extended,  as 
was  done  in  the  case  of  this  very  book  of  Hours ;  witness  the  license  of 
'Champ  fleury,'  dated  September  5, 1526.  Indeed,  my  own  opinion  is  that 
Tory  did  not  remove  to  the  Petit^Pont  until  about  the  date  last  men' 
tioned.  We  shall  see  that  he  remained  there  until  1530,  when  the  instal' 
lation  of  his  printing-office  required  him  to  take  more  roomy  quarters. 
However,  when  he  opened  his  shop  on  the  Petit'Pont  he  did  not  aban' 
don  his  place  on  rue  Saintjacques,  which  he  still  occupied  at  least  as  late 

as  1531- 

M.  Niel  owns  a  copy  of  this  book,  in  which  the  cuts  are  coloured  in 
water-colour,  lined  with  gold.  M.  Niel  thinks  that  the  arabesques  are 
adapted  fi"om  those  of  Raphael  in  the  Vatican,  which  had  lately  been  re' 
produced ;  the  lamented  Renouvier,  who  agreed  with  M.  Niel  in  attrib' 
uting  the  colouring  to  Tory,  considered  it  an  admirable  piece  of  work. 

1.  It  was  bought  for  3025  francs,  exclusive  of  commissions,  for  the  Bibliotheque  Imperiale 
(in  December,  1 860).  It  is  a  superb  copy,  still  in  its  original  binding.  M.  Brunet  mentions  two 
other  copies  :  ( i  )  That  of  Baron  de  Heiss,  the  cuts  in  which  were  coloured,  and  which  brought 
only  60  francs  in  1785.  It  was  the  same  copy,  apparently,  which  was  sold  for  13  pounds  at 
the  sale  of  Richard  Heber.  (z)  The  McCarthy  copy,  extra  illustrated  with  19  lovely  minia- 
tures from  an  old  manuscript,  has  brought  450  francs. 


120 


GEOFROY  TORY 


It  will  not  fail  to  be  noticed,  moreover,  that  Tory  calls  attention  on  the 
title-page  of  his  copies  to  the  excellent  orthography  of  his  book :  an  addi' 
tional  proof  that  this  reimpression  was  subsequent  to  1525. 

Tory  lent  his  borders  and  his  engravings  to  several  printers,  who  fre^ 
quently  removed  his  mark  therefrom.  I  will  mention  particularly  five 
publications  of  Simon  de  Colines  on  the  title-'pages  of  which  we  find 
Tory's  borders. 

I.  'Divi  Joannis  Chrisostomi  liber  contra  Gentiles,'  etc.;  quarto,  1528. 
The  title/page  is  surrounded  by  one  of  Tory's  borders,  with  the  crowned 
F  at  the  foot,  and  the  broad  upright  section  with  the  two  scrolls  contain^ 
ing  the  words  'Geofroy  Tory,'  which  have  been  removed. —  There  is  a 
copy  of  this  volume,  in  vellum,  in  the  library  of  M.  Solomon  de  Roths^ 
child,  who  has  kindly  sent  me  this  information. 

II.  '  Rodolphi  Agricolae  Phrisii  de  inventione  dialectica  libri  tres,  cum 
scholiis  Joannis  Matthasi  Phrissemii ' ;  quarto,  1529  and  1538.  Border  com^ 
posed  of  two  broad  upright  sections,  one  of  which  was  used  in  the  pre' 
ceding.  A  crowned  F  at  the  top,  and  another  broad  section  at  the  foot. 

III.  'Laurentii  Valine  de  linguas  latinze  elegantia  libri  III  ';quarto,  1535 
and  1538.  Same  border  as  in  the  preceding.' 

2 

In  1 5  2  7  Tory  published  a  new  edition  of  his  Hours,  in  one  volume,  octavo, 
printed  as  before  by  Simon  de  Colines,  in  roman  type,  with  vignettes  of 
the  same  sort,  but  much  smaller.  There  is  a  copy  on  vellum  at  the  Bibli' 
otheque  de  1' Arsenal ;  unluckily  it  lacks  the  first  and  last  leaves.  Accord^ 
ing  to  M.  Brunet,^  to  whom  M.  Tosi,  of  Milan,  sent  the  description  of 
a  perfect  copy,  also  on  vellum,  the  first  page  reads : '  Horas  in  laudem 
Beatiss.  Virg.  Marias  ad  usum  Romanum  venales  extant  Parrhisiis  ad  in" 
signe  vasis  effracti.'  And  the  last : '  Hujusmodi  HorjE  nuper  absoluebantur 
a  pralo  Colineo,  die  vicesima  prima  Octobris  anno  Domini  1527,  pro  ma/ 
gistro  Gotofredo  Torino  Biturigico  Bibliopola  ad  insigne  vasis  effracti  Par/ 
rhisiis  commorante,  ubi  venales  beneuolis  omnibus  amicabiliter  extant.' 

We  give  herewith  an  extract  from  the  License  of  this  new  publication, 
which  license  included  also '  Champ  fleury '  and  the  Hours  of  1 5  2  4- 1 5  2  5 : 

'  [The  translator  has  before  him  a  copy  of  an  earlier  edition  (  i  5  29)  of  this  work,  the  title- 
page  of  which  reads  as  follows  :  '  Lavrentii  Vallae  de  Lingvae  Latinae  Elegantia  libri  sex,  iam 
tertiu  de  integro  bona  fide  emaculati.  Eiusdem  de  Reciprocatione  Sui  &  Suus  libellus  apprime 
vtilis.  Cum  indice  amplissimo.  Parisiis  Apud  Simonem  Colinsum.'  1529.  The  border  dif- 
fers slightly  from  that  described  above.  In  this  case  Tory's  mark  was  not  removed  by  Colines, 
but  appears  twice.]  2.  Manuel  de  Libraire,  5th  ed.,  vol.  v,  col.  1658. 


BIBLIOGRAPHY 


121 


Fran9ois,by  the  grace  of  God  King  of  France,  to  the  Provost  of  Paris, 
the  Bailli  of  Rouen  and  the  Seneschal  of  Lyon,  and  to  all  our  other  jus/ 
ticiars  and  officials  and  their  deputies,  and  to  each  of  them  as  to  him  shall 
appertain,  greeting.  Our  dear  and  well^beloved  maistre  Geofroy  Tory  de 
Bourges,  bookseller,  living  at  Paris,  hath  now  caused  it  to  be  made  known 
and  shown  unto  us  that,  in  order  to  proclaim,  exalt  and  embellish  the 
Latin  and  French  tongues,  he  hath  not  long  since  made  and  composed 
a  book  in  prose  and  in  the  French  language  entitled : '  Lart  et  science  de 
la  deue  et  vraye  proportion  des  lettres  attiques,  autrement  dictes  antiques 
et  vulgairement  lettres  romaines,  proportionnees  selon  le  corps  et  visaige 
humain';  the  which  book  he  hath  caused  to  be  placed  before  us,  soliciting 
and  requesting  us  to  grant  unto  him  leave,  permission  and  license  to  print, 
or  cause  to  be  printed  the  said  book,  together  with  certain  drawings  and 
vignettes '  a  I'antique  and  a  la  moderne ' ;  likewise  friezes,  borders,  crowns 
and  scrolls ;  also  to  cause  to  be  printed  books  of  Hours,  in  such  form  and 
of  such  size  as  to  him  shall  seem  good,  during  the  time  and  term  of  ten 
years,  beginning  on  the  day  of  the  printing  of  said  Book  and  said  Hours ; 
together  with  an  extension  for  the  same  term  for  certain  drawings  and 
vignettes  by  him  heretofore  printed. — -We  hereby  give  you  to  know, 
that  we,  in  consideration  of  the  foregoing,  generously  acceding  to  the 
petition  and  request  of  the  said  maistre  Geofroy  Tory,  and  having  re^ 
gard  to  the  toil,  labour,  outlays  and  expense  which  it  hath  behooved  him 
to  undergo  and  sustain,  as  well  in  the  composition  of  the  said  books,  as  for 
the  engraving  of  the  said  drawings,  vignettes,  friezes,  borders,  crowns 
and  scrolls  to  accompany  the  said  Hours,  as  hereinbefore  mentioned,  in 
divers  forms  and  sizes, — have  granted  to  him  the  privilege  of  printing 
the  said  books,  enjoining  you  not  to  allow  any  other  printers  or  book/ 
sellers  within  our  realm,  domains  and  seignories  to  print  the  said  books 
and  Hours,  on  pain  of  one  hundred  silver  marcs  to  be  paid  to  us,  and  of 
confiscation  of  said  books.  Given  at  Chenonceau  the  fifth  day  of  Septem^ 
ber,  in  the  year  of  grace  one  thousand  five  hundred  twenty ^six,  and  of 
our  reign  the  twelfth. 

In  this  new  book  of  Hours  there  are  thirty^wo  different  borders, 
which  reappear  on  every  second  leaf— one  hundred  and  twenty  weight 
in  all.  The  text  is  embellished  by  sixteen  large  subjects,  naturally  smaller, 
however,  than  those  in  the  quarto.  In  the  copy  at  the  Arsenal,  the  only 
one  that  I  have  seen,  these  subjects  are  coloured.  I  did  not  discover  Tory's 
mark  anywhere ;  but  his  mottoes  do  appear, — 'menti  bonae  devs  occvrrit'; 


122 


GEOFROY  TORY 


« sic  vt,  vel  vt ' ; '  non  plvs ' ; — which  proves  that  these  plates  were  engraved 
for  him,  if  not  by  him. 

A  list  of  the  drawings  follows :  — 
I  and  2.  The  Angelic  Salutation;  two  plates  on  adjoining  pages,  as 
in  the  quarto  of  1524-1525. 

3.  The  Visitation  of  the  Virgin. 

4.  The  Birth  of  Jesus. 

5.  The  Annunciation  to  the  Shepherds. 

6.  The  Adoration  of  the  Magi. 

7.  The  Circumcision. 

8.  The  Flight  into  Egypt. 

9.  The  Coronation  of  the  Virgin. 

10.  St.  Joachim  and  St.  Anne  Embracing  (this  is  not  included  in  the 
edition  of  1524-1525). 

1 1.  The  Crucifixion. 

12.  The  Descent  of  the  Holy  Spirit  on  the  Apostles. 

13.  The  Penance  of  David. 

14.  The  Triumph  of  Death. 

1 5.  The  Holy  Trinity. 

16.  The  Virgin  and  the  Child  Jesus. 

(The  last  two  are  not  included  in  the  edition  of  1524- 152 5.) 
The  signatures  run  from  A  to  Z;  that  is  to  say,  there  are  twenty /three 
octavo  sheets. 

The  copy  of  the  octavo  Hours  of  1527  at  the  Arsenal  is  a  lovely  vol" 
ume  printed  on  vellum,  with  a  number  of  manuscript  prayers  in  French 
added  at  the  end.  The  calligraphic  execution  of  these  prayers,  which  are 
surrounded  by  borders  in  imitation  of  those  in  the  book,  is  wonderfully 
fine.  The  colouring  of  the  plates  and  the  illuminating  of  the  initial  letters 
and  of  those  at  the  ends  of  paragraphs  make  the  volume  of  great  value. 
It  is  still  in  its  original  binding  (once  very  sumptuous,  but  now  sadly  out 
of  repair),  on  the  covers  of  which  one  can  distinguish  interlaced  C's, 
barred  S's,  and  star  ^shaped  figures  formed  of  two  triangles  turned  end  for 
end.  Can  it  have  belonged  to  Catherine  de  Medicis,  who  became  the  con^ 
sort  of  Henri  II  in  1533?  Unluckily  it  lacks  two  essential  leaves,  the  first 
and  the  last. 

3 

In  the  same  year,  Tory  had  printed  by  Simon  Dubois  ('Silvius ')  a  quarto 
edition  of  this  same  book  of  Hours,  'suivant  I'usage  de  Paris.' 


BIBLIOGRAPHY  123 

It  is  dated  October  22, 1 52  7.  It  contains  the  new  license,  and  comprises 
thirty^six  quarto  sheets,  folded  two  by  two  according  to  custom,  and  form' 
ing  eighteen  octavo  signatures,  A  to  S.  The  book  is  printed  throughout 
in  the  gothic  type  of  that  time,  with  the  borders  'a  la  moderne'  men^ 
tioned  in  the  license  of  1524,  consisting  of  arabesques  of  flowers,  insects, 
animals,  etc.  There  are  twenty-^ix  complete  borders,  which  recur  in 
regular  order.  We  find  again  here,  as  in  the  first  quarto,  thirteen  large 
subjects  interspersed  through  the  text.  But  a  noteworthy  fact  is,  that  aP 
though  these  subjects,  with  two  exceptions,'  are  the  same  as  those  in  the 
first  quarto,  they  are  of  entirely  different  designs,  appropriate  to  the 
'modern'  borders  and  type.  It  would  be  difficult  to  carry  further  the  love 
of  artistic  harmony.  Neither  the  borders  nor  the  illustrations  bear  Tory's 
mark,  and  I  doubt  whether  they  are  his.  Perhaps  the  design  was  Perreal's 
and  the  engraving  by  one  of  the  artists  employed  by  Tory,  who  must 
then  have  had  an  organized  workshop,  if  we  may  judge  from  the  num-' 
ber  of  works  which  he  produced  about  that  time. 

Dibdin  speaks  enthusiastically  of  this  edition  of  the  Hours,  in  his 
'Bibliographical  Decameron';  he  even  reproduces  four  of  the  large  cuts 
by  which  it  is  illustrated.^  He  says  that  it  is  the  'most  beautiful  work' 
of  that  sort  that  he  has  ever  seen,  and  expresses  great  surprise  that  the 
arabesques  have  been  cast  aside.  I  confess  that  I  do  not  share  his  feeling. 
The  book  seems  tome  badly  done,  both  from  the  artistic  and  from  the 
typographical  standpoint :  the  borders  do  not  harmonize,  they  are  out 
of  proportion,  and  the  engraving  does  not  impress  me  as  beyond  reproach. 
But  Dibdin's  opinion  is,  as  everybody  knows,  very  unreliable ;  his  careless-* 
ness  is  proverbial.  Indeed,  he  gives  us  a  striking  instance  of  it  in  this  very 
passage :  for  he  tells  us  that  this  book  was  published  by  Tory  of '  Bruges,' 
and  that  it  has  on  the  title,  the  Pot  Casse  of  Simon  du  Bois  ^;  two  errors 
in  one  line ! 

Among  the  small  cuts  at  the  foot  of  the  pages,  we  observe  the  shield 
of  France ;  the  crowned  F;  the  crowned  salamander;  the  crest  of  the  king's 
mother,  'party'  of  France  and  of  Savoy,  with  her  widow's  girdle;  her  in-* 
itial  (L),  crowned;  the  shield  'party'  of  Navarre  and  of  France,  with  the 
letters  H  and  M  intertwined  (the  initials  of  Henri  d' Albert,  King  of 
Navarre,  and  Marguerite,  sister  of  Francois  I,  whose  marriage  had  been 

1 .  The  Adoration  of  the  Shepherds  is  replaced,  as  in  the  octavo  edition,  by  the  Annuncia- 
tion to  the  Shepherds,  and  the  Visitation  by  an  entirely  different  subject,  taken  from  a  Chris- 
tian legend :  the  Emperor  Augustus,  kneeling  on  the  ground,  holds  one  hand  of  the  Sibyl  of 
Tibur,  who  with  the  other  hand  points  to  the  Virgin  and  the  Child  Jesus  in  Heaven. 

2.  Vol.  i,  pp.  94-98.  3.  Bibliographical  Decameron,  vol.  i,  p.  98. 


124  GEOFROY  TORY 

celebrated  January  24, 1526') ;  the  Pot  Casse,  no.  i,  that  is  to  say,  in  its 
simplest  form,  etc. 

The  exact  title  of  this  book  is  as  follows:  'Hore  in  laudem  beatissime 
Virginis  Marie  :  secundum  consuetudinem  Ecclesie  Parisiensis.' 
(Here  the  Pot  Casse,  no.  9.)  ♦  Venales  habentur  Parrhisiis,  apud  Magis-' 
TRUM  GoTOFREDUM  Torinum  Biturigicum:  sub  insigne  Vasis  ef^ 
fracti:  gallico  sermone  Au  Pot  Casse.' — All  the  words  here  printed 
in  small  capitals  are  printed  in  red.  On  the  verso  of  the  title^'page  is  the 
license,  dated  September  5,  1526.  At  the  end  of  the  book  is  the  follow 
ing : '  Ces  presentes  Heures  a  lusage  de  Paris,  privilegiees  pour  dix  ans 
commenceans  a  la  presente  date  de  leur  impression,  flirent  achevees  dim'- 
primer  le  vingt  deuxiesme  iour  Doctobre,  Mil  cinq  cens  vingt  sept,  par 
maistre  Simon  du  bois,  imprimeur ,  pour  maistre  Geofroy  Tory  de  Bourges, 
qui  les  vend  a  Paris  a  lenseigne  du  Pot  Casse.'  (Here  the  same  mark  as  on 
the  first  page.) 

It  will  be  noticed  that,  although  Tory  felt  bound  to  give  the  title  of 
the  book  in  Latin,  he  could  not  forbear  to  print  his  address  in  French. 

This  is  the  order  of  the  plates,  all  of  which  measure  nine  centimetres 
by  six :  — 

I  and  2.  The  Angelic  Salutation,  in  two  plates  on  successive  pages 
(fol.  f  3  verso,  and  f  4  recto). 

3.  The  Sibyl  of  Tibur  (see  the  description  on  page  123,  note  i) ,  fol.  g 
8  recto. 

4.  Jesus  on  the  Cross,  fol.  h  6  recto. 

5.  The  Descent  of  the  Holy  Spirit  on  the  Apostles,  fol.  h  7  recto. 

6.  The  Birth  of  Jesus,  fol.  i  i  recto. 

7.  The  Annunciation  to  the  Shepherds,  fol.  i  6  recto. 

8.  The  Adoration  of  the  Magi,  fol.  k  2  recto. 

9.  The  Presentation  in  the  Temple,  fol.  k  6  recto. 

10.  The  Flight  into  Egypt,  fol.  1  2  recto. 

1 1.  The  Coronation  of  the  Virgin,  fol.  1  7  recto. 

12.  David  Playing  the  Harp,  fol.  m  5  recto. 

1 3.  The  Triumph  of  Death,  fol.  n  7  recto. 

M.  Brunet  ^  mentions  a  copy  of  this  book  on  vellum.  The  Bibliotheque 
Nationale  owns  one  on  paper,  bound  by  Cape,  with  tooling  copied  from 
Tory's. 

1.  This  princess,  born  in  1492,  was  the  grandmother  of  Henri  IV;  she  married,  first, 
Charles,  due  d' Alen^on.  She  was  famous  for  her  intellectual  qualities,  and  we  owe  to  her  sev- 
eral noteworthy  works. 

2.  Manuel  de  Libratre,  vol.  iv,  4th  edit.,  p.  802,  col.  i. 


BIBLIOGRAPHY 


125 


4 

Hours  of  the  Virgin, in  roman  type,  with  borders  and  arabesques  'a 
I'antique'  on  each  page.  A  small  i6mo  volume,  printed  by  Tory,  Feb-' 
ruary  8,  1529  (old  style). 

Here  is  a  description  of  this  Little  gem,  taken  from  the  only  copy  that 
I  have  seen,  M.  Niel's,  which  is  on  vellum. 

The  title  reads  thus:  — 

'HORiE IN  LAUDEM  BEATISSIM^  ViRGINIS  MaRI^, SECUNDUM  USUM 

RoMANUM.'  Then  the  Pot  Casse,  and  at  the  foot  of  the  page : '  Menti  bon^ 
Deus  occurrit.' 

On  the  verso  of  the  title-page:  — 

'Rex  christianiss.  statuit  ne  quis  alius  a  Gotofredo  Torino  Biturigico, 
Bibliopola  Parrhisiis  habitante,  imprimat  aut  imprimi  faciat  infra  decent- 
nium  in  toto  regno  hujusmodi  coronamenta  et  figuras,  sub  poena  gravis^ 
sima,  ut  in  diplomate  ad  hoc  obtento  ladssime  patet.' 

Then  comes  an  abstract  of  the  pontifical  license,  undated;  and  on  the 
following  leaf  the  table  of  Easter^Days  from  1530  to  1552. 

On  the  last  page : '  Parrhisiis,  apud  Gotofredum  Torinum  Biturigicum, 
viii.  die  febr.  anno  sal.  m.  d.  xxix,'  ad  insigne  Vasis  eflEracti.' 

The  signatures  run  from  A  to  Y;  that  is  to  say,  the  book  consists  of 
22  octavo  forms,  or  176  leaves.  The  pages,  which  contain  21  lines  of  bre^ 
vier,  measure  thus:  — 

Height,  text  alone  77  millimetres. 

Height,  with  border  96  millimetres. 

Width,  text  alone  29  millimetres. 

Width,  with  border  48  millimetres. 

The  volume  contains  twenty^one  small  cuts,  unsigned,  but  all  engraved 
in  Tory's  manner.  Here  is  a  list  of  them:  — 

I.  Jesus  on  the  Cross;  a  very  small  cut  with  five  sections,  like  the 
Crucifixion  of  the  quarto  of  1524-1 525;  that  is  to  say,  there  are  bees  at 
work,  birds  building  their  nests,  a  peasant  ploughing,  and  another  shear-' 
ing  sheep. 

2  and  3.  The  Angelic  Salutation;  two  cuts  facing  each  other,  as  in 
the  Hours  of  1 524-1525. 

4  and  5.  The  Visitation  (idem). 

6  and  7.  The  Birth  of  Jesus  (idem). 

8  and  9.  The  Annunciation  to  the  Shepherds  (idem). 

I.  1530  new  style. 


126 


GEOFROY  TORY 


10  and  II.  The  Adoration  of  the  Magi  (idem). 
12  and  13.  The  Circamcision  (idem). 

14.  The  Massacre  of  the  Innocents. 

1 5.  The  Coronation  of  the  Virgin. 

16.  The  Crucifixion. 

1 7.  The  Descent  of  the  Holy  Spirit. 

18.  Bathsheba  at  the  Bath. 

1 9.  The  Triumph  of  Death. 

20.  The  Trinity  (small  cut). 

21.  The  Virgin  in  a  halo,  with  an  angel  on  each  side.' 

5 

Book  of  Hours,  quarto;  same  typographical  arrangement  as  in  the 
quarto  of  15 24- 152 5.  On  the  title-page,  which  has  the  border  of  those 
copies  of  the  earlier  edition  which  bear  the  imprint  of  Simon  de  Colines, 
we  read :  — 

'HORiE  IN  LAUDEM  BEATISS.  VIRGINIS  MARIiE.  Ad  USUM  Rq/ 

MANUM.  —  Parrhisiis,  apud  Gotofredum  Torinum  Biturigicum, 
REGiuM  IMPRESSOREM.  (Then  comes  the  motto:  Menti  bon^  Devs 
occvRRiT,  and  beneath  it  the  Pot  Casse.)  Cum  privilegio  summi  Pont,  et 
Regis  christianiss.  ad  decennium  et  ultra,  ut  in  calce  hujus  operis  patet.'  ^ 

On  the  verso  of  the  title  the  list  of  Easter^Days,  from  153 1  to  1560; 
then  the  Calendar,  the  type  in  which  this  is  set  being  so  large  that  it  was 
necessary  to  omit  the  arabesques  with  figures  at  the  foot  of  the  border 
and  substitute  simple  arabesques  like  those  at  the  top. 

On  the  recto  of  the  last  leaf  is  the  abstract  of  the  licenses,  papal  and 
royal,  and  on  the  verso  this  colophon,  set  in  the  border  of  the  last  page  of 
'Champ  fleury':  'Parrhisiis,  ex  officina  Gotofredi  Torini  Biturigici, regii 
impressoris,  ad  insigne  Vasis  effracti,  anno  salu[tis]  m.  d  .  xxxi,die  xx  mensis 
octo[bris].'  Then  the  Pot  Casse  and  at  the  foot  of  the  page :  — 

'Effracti,  lector,  subeas  insignia  vasis, 
Egregios  flores  ut  tibi  habere  queis.' 

The  volume  consists  of  twenty  signatures  (A  to  V)  of  two  sheets 
each,  set  in  the  roman  type  used  in '  Champ  fleury ' ;  borders  of  the  Hours 

1.  In  my  first  edition  I  described  only  19  cuts,  after  the  imperfect  copy  of  M.  de  Roths- 
child. 

2 .  Tory  had  already  received  licenses  for  twenty  years  for  his  Hours  ( see  supra,  pp.  105-9, 
1 2 1 ),  so  that  he  did  not  need  this  further  grant,  which,  indeed,  he  did  not  print  at  the  end  of 
his  book. 


BIBLIOGRAPHY  127 

of  1524-1525;  also  the  thirteen  drawings  of  that  edition,  but  with  spc 
cial  borders  in  the  form  of  porticoes,  which  appear  in  other  minor  works 
of  Tory  published  in  153 1,  of  which  we  shall  speak  in  the  following  sec^ 
tion.  It  is  a  fact  worthy  of  remark  that  we  no  longer  find  the  nameGeofroy 
Tory  on  his  borders,  and  that  even  his  mark  has  disappeared  from  several 
of  the  cuts,  particularly  the  first  cut  of  the  Angelic  Salutation,'  the  Ado^ 
ration  of  the  Shepherds,  the  Adoration  of  the  Magi,  the  Flight  into 
Egypt,  the  Coronation  of  the  Virgin,  the  Penance  of  David,  and  the 
Triumph  of  Death.  This  circumstance  leads  me  to  believe  that  Tory  had 
lent  these  plates  to  other  publishers,  as  he  had  lent  his  borders  to  Simon  de 
Colines,  and  that  they  removed  the  marks  in  order  to  appropriate  more 
completely  the  publications  in  which  the  plates  were  used.  This  was  what 
Simon  de  Colines  did,  as  we  have  already  seen  (page  120). 

A  no  less  interesting  fact  is  that,  in  the  borders,  the  crowned  C's  are 
retained,  which  refer  to  Claude  de  France,  the  first  wife  of  Fran9ois  I, 
who  died  in  1524  and  was  succeeded  in  1530  by  Eleonora  of  Austria. 

We  find  also  in  this  edition  four  unsigned  cuts  which  do  not  appear 
in  the  quarto  of  15 24- 1525 :  — 

Fol.  H  8.  The  Angelic  Salutation;  a  special  design,  quarto  size. 

Fol.  L  6.  The  Angelic  Salutation;  quite  small,  occupying  only  the 
upper  part  of  a  page. 

Fol.  R  7.  The  Trinity;  small,  with  a  special  border. 

Fol.  V  3.  The  Virgin ;  small,  with  a  special  border. 

The  last  two  are  taken  from  the  i6mo  Hours  of  1529.  The  floriated 
letters  are  the  same  as  in  'Champ  fleury.' 

Papillon,  who  speaks  of  this  book,^  without  giving  the  title,  and  at*- 
tributes  it  to  Woeiriot,  who  was  not  born  in  153 1,  expresses  himself 
thus  concerning  it:  'I  have  seen  an  old  book  in  which  there  are  some  of 
his  engravings ;  it  is  an  octavo,  each  page  of  which  is  surrounded  by  a  deco^ 
rative  border,  in  compartments,  of  a  beautiful  gothic  type.  They  are  en/ 
graved  very  correctly,  even  though  it  is  line  engraving,  which  is  so  fine, 
so  even  and  so  accurate,  that  I  am  at  a  loss  to  understand  how  it  could 
have  been  done.  There  are  in  this  book  fifteen  or  sixteen  large  cuts,  also 
engraved  in  line ;  the  drawing  of  the  figures  is  passable.  The  little  Lor/ 
raine  cross,  which  Woeiriot  used  as  a  mark,  may  be  seen  in  several  places 
in  the  borders  of  this  book.' 

M.  de  Rothschild's  copy  of  this  edition  has  one  interesting  pecul-* 

1 .  This  cut,  on  the  verso  of  a  leaf  of  which  the  recto  is  blank,  is  missing  in  many  copies. 

2.  Traite  de  la  Gravure  sur  Bois,  vol.  i,  p.  193. 


128 


GEOFROY  TORY 


iarity:  it  is  enriched  by  a  large  plate,  unsigned,  printed  on  an  oblong 
half'sheet,  representing  the  Triumph  of  the  Virgin  Mary,  which  seems 
to  be  an  imitation  of  the  Triumph  of  Apollo  in  '  Champ  fleury.'  The 
Virgin  appears  in  a  chariot  drawn  by  unicorns ;  behind  the  chariot  are 
the  Captive  Women ;  around  the  chariot.  Prudence,  Temperance,  Jusf 
ice  and  Strength;  in  front  of  the  unicorns,  Hope,  Faith,  Charity;  and 
farther  in  front  the  Nine  Muses,  the  Seven  Liberal  Arts,  the  handmaid' 
ens  of  the  Virgin.  In  the  background,  we  see  the  Virginal  Palace,  the  Pal/ 
ace  of  Jesse,  and  the  Temple  of  Honour.  Beneath  the  picture  is  an  expla' 
nation  in  French  verse,  which  begins  thus:  — 

*  Les  antiques  Cesars  triompherent  par  gloire, 
Mais  par  humihte  (ainsi  le  faut  il  croire) 
La  noble  Vierge  va  triomphante  en  bon  heur 
Du  palais  virginal  jusquau  temple  dhonneur.' 

I  have  seen  this  engraving  nowhere  else  except  in  a  copy  of  the  edi' 
tion  of  the  Hours  published  in  1542  by  Olivier  Mallard,  of  which  I  shall 
speak  in  the  third  part;  but  I  have  no  doubt  that  it  was  included  orig/ 
inally  in  all  copies  of  the  edition  of  1531,  perhaps  also  in  that  of  1524- 
1525.  Its  chances  of  preservation  were  injured  by  its  being  bound  in  the 
form  of  a  map.  At  all  events  this  unsigned  plate  is  in  Tory's  manner, 
and  it  can  hardly  be  denied  that  it  belongs  to  him. 

6 

At  a  time  which  I  am  unable  to  fix  with  precision,  but  not  earlier  than 
the  month  of  September,  1 53 1  ,Tory  printed  another  book,  in  octavo,  with 
borders  made  up  of  plants,  animals,  insects,  birds,  etc.,  like  those  in  the 
quarto  Hours  of  1527,  but,  naturally,  on  a  smaller  scale.  I  have  never 
seen  this  book,  but  its  existence  is  established  to  my  satisfaction  by  the 
publication  of  a  book  of  Hours,  at  a  later  date,  by  Olivier  Mallard,  with 
the  same  borders  and  vignettes.  I  can  give  with  certainty  neither  the  title 
nor  the  date  of  printing  of  Tory's  book;  but  the  date  of  the  engravings 
is  readily  determined  approximately,  thanks  to  certain  ornaments  of 
Mallard's  book.  For  instance,  we  find  in  it,  as  in  the  Hours  of  1527,  the 
crowned  F  and  the  salamander  of  Fran9ois  I,  the  crowned  L  and  the 
biparted  shield  (France  and  Savoy)  of  his  mother,  who  died  in  153 1, 
and  a  blank  shield  which  suggests  the  widowhood  of  Fran9ois,  and  con' 
sequently  proves  that  these  cuts  were  designed  before  July,  1530.  As  for 


BIBLIOGRAPHY  129 

my  ascription  of  these  cuts  to  Tory,  it  is  due  to  the  style  of  the  borders, 
which  are  copied  from  the  Hours  of  1527.  Moreover,  he  has  added  a 
special  symbol,  namely,  the  coat^of^arms  of  Bourges  (three  sheep,  placed 
two  and  one,  and  wearing  collars),  which  appears  now  and  again  at  the 
foot  of  the  page,  beside  the  symbols  of  Fran9ois  I  and  his  mother.  As  I 
have  said,  I  do  not  know  the  title  of  the  book  in  which  Tory  first  used 
these  cuts;  it  seems  to  me,  however,  that  we  may  fairly  conclude  from 
the  use  Olivier  Mallard  made  of  them  that  it  was  a  book  of  Hours;  Tory 
probably  decided  to  publish  an  octavo  edition  of  his  Hours  '  a  la  mod' 
erne  'of  1 5  2  7,  as  he  had  published  in  1 5  2  7  an  octavo  edition  of  his  Hours 
*a  I'antique'  of  1524- 1525.  Indeed,  it  maybe  that  the  book  in  question  is 
the  one  thus  described  by  M.  Brunet :  'Horae  in  laudem  beatissimse  Vir/- 
ginis  Maris  adusum  Rothomagensem. — Parisiis,  adinsigne  Vasis  effracti. 
1536.'  Small  octavo,  roman  type,  line  engravings. 

It  will  be  seen  that  the  book  is  said  to  be  printed  at  the  sign  of  the 
Pot  Casse,  without  mention  of  the  printer's  name.  This  may  mean  that 
it  was  printed  by  Tory's  widow,  who  published  Macault's  work  in  the 
same  way  in  1 535. 

We  shall  speak  elsewhere  of  Mallard's  book,  but  this  is  the  place 
to  mention  the  engravings  it  contains,  which  doubtless  appeared  also  in 
.Tory's  book.  In  Mallard's  publication  of  1541  there  are  sixteen  different 
borders,  the  same  one  being  always  placed  on  the  recto  and  verso  of  each 
leaf,  and  nineteen  of  the  plates  of  the  i6mo  edition  of  1529.  The  two 
lacking  are  number  i  and  number  21.  [The  engravings  of  The  Visita-" 
tion  are  reproduced  below.] 


SECTION  III. 
WORKS  PUBLISHED  BY  TORY 
FOR  FRANCOIS  I. 


Le  Sacre  et  Coronnement  de  la 
royne,  imprime  par  le  commanded 
ment  du  Roy  nostre  Sire.  (Pot 
Casse  no.  6.)  On  le  vend  a  Paris,  en 
la  rue  Sainct  laques,  devant  lescu  de 
Basle,  et  devant  leglise  de  la  Mag-' 
daleine,  a  lenseigne  du  Pot  Casse.  — 
Avec  privilege. 

Quarto,  of  three  signatures.  [Paris, 

Geofroy  Tory,  1 53 1 .] 

The  title  which  I  have  transcribed  is 
set  in  a  pretty  portico^shaped  border, 
decorated  with  arabesques,  at  the  foot 
of  which  is  found  the  word  'salvs.' 


BIBLIOGRAPHY  131 

On  the  verso : '  II  est  permis  a  maistre  Geoffroy  Tory  de  Bourges,  mar/ 
chant  libraire,  demourant  a  Paris,  imprimer  et  mettre  en  vente  ce  pre/ 
sent  livre,'  etc.  On  the  recto  of  the  second  leaf : '  Cest  Lordre  et  forme  qui 
a  este  faicte  et  tenue  par  le  commandement  du  Roy  nostre  Sire  au  Sacre 
et  Coronnement  de  la  Royne  ma  dame  Leonore  Daustriche,  seur  aisnee 
de  Lempereur,  le  cinquiesme  iour  de  mars  m.  d.  xxx.  Lequel ...  a  este 
mis  et  redige  par  escript  au  vray  par  moy  Guillaume  Bochetel,son  notaire 
et  secretaire,  signant  en  ses  finances. . . 

The  text  begins  immediately  under  this,  with  the  beautifiil  decorated 
letter  (L)  which  is  reproduced  on  page  i  of  this  book. 

The  license,  printed  on  the  last  leaf  but  one,  informs  us  that  Tory  had 
then  become  a  printer,  whence  we  may  conclude  that  it  was  he  who 
printed  the  volume,  although  there  is  no  definite  statement  to  that  effect. 

'  We  have  given  to  maistre  Geoffiroy  Tory,  bookseller,  and  printer, 
leave  to  print  the  Queen's  Coronation,  and  do  forbid  all  other  printers  to 
print  the  same  for  the  term  of  one  year,'  on  pain  of  summary  fine  on 
conviction  thereof.  Done  at  Paris  the  tenth  day  of  March  one  thousand 
five  hundred  and  thirty.  De  la  Barre.' 

On  the  last  page,  which  is  set  in  a  border  of  the  same  type  as  that  of 
the  title/page,  we  read,  above  the  Pot  Casse: '  The  printing  of  this  present 
book  was  finished  the  xvi  day  of  March  m.  d.  xxx,^  and  it  is  for  sale,'  ^  etc. 

2 

Lentree  de  la  Royne  en  sa  ville  &  cite  de  Paris,  imprimee  par 
LE  Commandement  du  Roy  nostre  Sire.  (Pot  Casse,  no.  6.)  On  la 
vend  a  Paris,  en  la  Rue  Sainct  laques  devant  Lescu  De  Basle,  &  devant 
leglise  de  la  Magdaleine,  A  Lenseigne  du  Pot  Casse. — Avec  Privilege. 
Quarto,  of  six  signatures.  [Paris,  Geofi"oy  Tory,  153 1.] 
This  title  is  set  within  the  charming  title/page  border  of  the  Colines 
copies  of  the  Hours  of  1524-1525.  On  the  verso  of  the  title/page:  'II  est 
permis,'  etc.,  as  in  the  preceding  volume.  On  the  second  leaf  the  text  be/ 
gins  with  a  beautiful  decorated  letter  (A)  after  the  style  of  the  L  of  the 
volume  last  described.  This  page  also  is  set  in  a  portico/shaped  border, 
with  arabesques;  but  the  latter  are  different  from  those  in  the  'Sacre.' 

1 .  The  license  had  no  sooner  expired  than  the  book  was  reprinted,  as  may  be  seen  by  a  copy 
of  an  edition  in  gothic  type,  of  eight  octavo  signatures,  dated  1 5  3  i ,  in  the  Bibliotheque  Na- 
tionale. 

2.  1 53  I  new  style. 

3.  A  new  edition  of  this  book  has  recently  been  published  at  Brussels,  being  a  photo-litho- 
graphic reproduction  of  the  copy  in  the  Bibliotheque  du  Roi. 


132  GEOFROY  TORY 

We  find,  too,  three  other  and  different  borders  in  the  balance  of  the 
work,  which  gives  us  in  all  six  pages  with  borders  in  addition  to  that 
of  the  title-'page  and  that  of  the  last  page,  which  is  identical  with  that  of 
the  last  page  of  'Champ  lieury';  some  floriated  letters  also  have  been 
borrowed  from  this  last'-named  work.  Though  none  of  these  are  signed, 
they  are  surely  Tory's,  so  far  as  the  designs  are  concerned,  at  least. 

The  text  of  this  book,  as  of  the  preceding,  is  by  Guillaume  Bochetel, 
who  signed  it.  Following  his  text,  Tory  inserted  a  charming  cut,  represent' 
ing  the  gift  presented  by  the  city  of  Paris  to  the  Queen — a  magnificent 
candelabrum.  At  the  top  are  the  words:  'Deseing  du  present  faict  a  la 
Royne  en  deux  chandeliers.' '  The  license  granted  to  Tory  for  printing 
this  book  is  identical  with  that  of  the  preceding,  except  that  it  is  dated 
at  Anet,  April  26, 1 53 1.  We  learn  from  the  last  page  that  the  printing  was 
finished  on  Tuesday,  May  9,  153 1. 

Geofi-oy  Tory  was  not  simply  the  printer  of  this  little  volume ;  he 
was  also  the  publisher,  and  he  added  to  the  text  three  poems  in  Latin,  of 
his  own  composition.  Here  they  are:  — 

Geofroy  Tory  of  Bourges  to  ^een  Leonora.^ 

We  are  about  to  celebrate  this  triumph  of  yours,  Leonora,  which 
your  Parisians  have  conferred  upon  you.  You  are  a  queen  so  loving^kind 
to  us  that  we  all  can  say  that  you  are  a  real  goddess.  We  can  certainly 
say  that  you  are  a  benign  goddess,  since  you  at  last  bless  us  with  grates 
ful  peace.  With  peace  you  bless  all  who  inhabit  the  French  kingdom, 
so  kind  have  been  the  fates  in  establishing  you  in  power.  As  one  up' 
right,  aye,  holy,  gentle,  and  a  true  bestower  of  blessings,  you  have 
brought  our  lilies  back  to  their  country.  By  your  leave,  I  will  speak  in 
few  words,  and  I  will  proclaim  the  truth:  in  you  resides  full  national  sal' 
vation  for  us  all. 

The  same  to  the  same. 

May  the  gods  long  continue  your  happy  lot,  Leonora.  You  are  our 
Joy,  our  Peace,  and  our  grateful  Repose. 

The  same  Tory  to  the  French  People. 

Exult  and  be  glad,  people  of  France;  you  see  what  happiness  Leonora 
now  brings  to  you.  She,  sent,  be  sure,  by  the  manifest  will  of  God,  en^ 
ables  you  at  last  to  enjoy  the  blessings  of  peace.  Strew  roses,  laurel,  vio' 

I .  See  what  M.  A.  de  Montaiglon  says  of  this  engraving  in  the  Ar chives de  VArtfrarKjais, 
vol.  ix,  p.  266.  2.  [For  original  Latin,  see  Appendix  X, 


BIBLIOGRAPHY  133 

lets,  nard,  and  saffiron,  and  merrily  revel  to  your  hearts'  content.  But  be 
careful  too  that  you,  best  of  people,  be  not  backward  in  rendering  pious 
prayers  to  God.  If  you  never  cease  to  sing  God's  praises  and  to  frequent 
his  temples,  believe  me,  you  will  long  enjoy  the  blessings  of  peace.  You 
will  behold  the  golden  ages  beneath  the  smiling  heaven,  and  on  earth  you 
will  reap  in  prosperity  golden  harvests.  Add  to  this  that  you  will  in  similar 
manner  become  a  race  all  golden  too.  Continue,  therefore,  your  holy  serv^ 
ices  to  the  most  high  God. 

3 

In  Lodoic^  regis  matris  mortem  epitaphia  latina  et  gallica.  — 

EpITAPHES  a  la  LOUENGE  DE  ma  dame  mere  DU  ROY  FAICTZ  PAR 

plusieurs  recommendables  autheurs.  (Pot  Casse  no.  6.)  On  les 
vend  a  Paris  devant  Leglise  de  la  Magdeleine,  a  Lenseigne  du  Pot 
Casse. — Avec  privilege. 

Quarto,  of  two  and  a  half  signatures.  [Paris,  G.  Tory,  1531.] 
The  license,  dated  Paris,  October  13,  153 1,  and  signed  de  la  Barre, 
like  the  two  preceding,  gives  Tory  at  last  the  title  of  king's  printer: 
♦We  have  granted  to  maistre  Geofroy  Tory,  marchant  libraire  et  im^ 
primeur  du  Roy,  leave,'  etc.  On  the  last  page,  which,  as  well  as  the  first, 
is  set  in  a  border,''  are  the  words :  'Printed  at  Paris,  at  the  sign  of  the  Pot 
Casse,  by  maistre  Geofroy  Tory  de  Bourges,  bookseller  and  king's  printer. 
The  XVII  day  of  October,  m.  d.  xxxi.' 

As  the  title-page  indicates,  this  volume  contains  verses  in  Latin  and 
in  French  by  divers  contemporary  authors.  Among  the  former  is  one 
by  Geofroy  Tory  himself,  which  I  will  give  as  a  specimen. 

Louise y  royal  mother,  addresses  and  consoles  her  France:  written  by 
Geofroy  Tory  of  Bourges.^ 

France,  why  do  you  in  deepest  sorrow  mourn  for  me?  Do  you  not 
know  that  the  whole  human  race  is  destined  to  die?  Revive,  and  consider 
how  I  by  my  foresight  preserved  you  from  the  bitter  and  ruthless  enemy. 
I  leave  to  you  a  son,  king  by  divine  wiU,  who  under  my  guidance  cher^ 
ishes  you  in  glorious  peace.  Joyfully  he  beholds  in  your  arms  his  pledges, 
who  wiU  bring  the  whole  world  under  your  sway.  You  have  a  queen 
who  is  the  foster/daughter  of  virtue  and  peace,  and  who  blesses  your  lot 
viith  good  fortune.  You  have  also  another  queen,  who  is  the  sister  and 

1.  The  borders  are  the  same  as  those  at  the  beginning  and  end  of  the  Entree  de  la  Royne. 

2.  [For  original  Latin,  see  Appendix  X,  z.] 


134  GEOFROY  TORY 

good  counselor  of  your  consecrated  king.  With  such  guides  as  these,  dear 
France,  you  should  not  complain.  You  are  fortunate  in  having  such  lead' 
ers.  Moreover,  when  I  die,  I  will  not  desert  you,  for  you  have  my  im'' 
mortal  name.  Devotedly  I  wUl  ever  pray  for  you  before  the  mighty 
Thunderer,  asking  that  you  may  reign  victoriously  and  nobly.  Strew^ 
laurel  for  me,  violets,  nard,  and  saffron;  strew  also  flowers,  lilies,  garlands, 
and  roses.  Add  to  these,  moreover,  hymns  with  most  exalted  praises, 
rites,  melodies,  incense,  myrrh,  and  prayers.  Hesitate  not  to  erect  altars  to 
me.  For,  as  a  benign  goddess,  I  now  proceed  to  fly  to  Heaven.  Farewell. 

The  first  two  of  these  three  opuscula  exhibit  three  difl^erent  kinds  of 
type :  that  of  *  Champ  fleury '  and  two  others.  In  the  third  we  find  a  fourth 
size.  It  will  be  seen  that  Tory's  printing-'office  was  increasing  in  import 
tance.' 

4 

Ordonnances  du  Roy  (Fran9ois  I),  etc. 

Quarto,  of  four  signatures  (A  to  D).  Paris,  1532. 

I  have  seen  only  the  last  signature  of  this  collection.  It  has  a  special 
title^'page,  embellished  by  the  border  of  the  Colines  copies  of  the  Hours 
of  1524-1525 ;  but  the  signature  letter  (D)  and  the  first  word  of  the  title 
demonstrate  the  existence  of  at  least  three  others.  It  seems  that  Geofroy 
Tory  treated  the  legislative  documents  of  Fran9ois  I  in  the  sixteenth  cen' 
tury  as  the  Imperial  printing-office  treats  the '  Bulletin  des  Lois'  to-day : 
that  is  to  say,  each  fold  has  a  title,  although  it  forms  a  part  of  the  same 
publication  with  that  which  precedes  and  that  which  follows. 

I  transcribe  the  title  of  the  signature  that  I  have  seen,^  made  up  of  six 
leaves,  that  is  a  sheet  and  a  half  quarto  ^  (encartees) :  — 

AUTRES  ORDONNANCES  NOUVELLES  DU  ROY  NOSTRE  SiRE  SUR 
LESTAT  DES  TRESORIERS  ET  MANYMENT  DES  FINANCES,  PUBLIEES  EN  LA 
CHAMBRE  DES  COMPTES  ET  AU  CONSEIL  DE  LA  ToUR  CaRREE.  (Pot 

Casse.)  Imprimees  a  Paris  par  maistre  Geofroy  Tory  de  Bourges,  libraire 
et  imprimeur  du  Roy.  Devant  Leglise  de  la  Madeleine,  a  lenseigne  du 
Pot  Casse. — Avec  privilege  comme  il  appert  cy  apres  en  la  fin. 

1 .  These  three  opuscula  are  bound  together  in  one  volume  at  the  Bibliotheque  de  1' Arsenal. 
The  Bibliotheque  Nationale  also  owns  them  all,  bound  separately  and  more  or  less  imperfect. 
The  omission  of  the  last  of  the  three  from  the  new  catalogue  is  an  error,  for  it  is  in  the  library. 

2.  At  the  shop  of  M.  Potier,  bookseller,  Paris.  M.  Alkan,  senior,  also  owns  the  last  leaf  of 
this  signature. 

3.  If  the  other  three  signatures  are  complete,  they  should  contain  six  sheets,  folded  two  and 
two,  according  to  custom. 


BIBLIOGRAPHY  135 

Then  follow  four  ordinances  of  the  king,  of  the  year  1532,  'sur  lestat 
des  tresoriers/  etc.  They  are  dated,  the  first  at  Hamby,  April  19,  the  sec^ 
ond  at  Chateaubriant,  June  1 4,  the  third  and  fourth  also  at  Chateaubriant, 
May  16.  On  the  recto  of  the  last  leaf  is  the  duplicate  of  the  license,  in 
these  words:  — 

*  The  judges  appointed  by  the  king  in  the  Chambre  de  la  Tour  Carree 
to  administer  the  finances,  having  considered  the  petition  presented  by 
Geofroy  Tory,  bookseller  and  king's  printer,  praying  that  he  may  have 
permission  to  print  the  ordinances  of  late  issued  by  the  king  touching 
the  administration  of  his  finances  and  the  officers  engaged  therein,  which 
have  been  published  in  said  chamber,  and  that  all  other  booksellers  and 
printers  may  be  forbidden  to  print  or  to  cause  to  be  printed  the  said 
ordinances  until  the  expiration  of  three  years  next  ensuing,  on  pain  of 
summary  fine,  the  said  judges  have  permitted  and  do  permit  the  said 
Geofiroy  Tory  to  print  the  said  ordinances,  and  forbid  all  other  book' 
sellers  and  printers  to  print  or  cause  to  be  printed  the  said  ordinances  for 
one  year,'  on  pain  of  summary  fine.  Done  at  Paris  the  eighteenth  day  of 
July,  in  the  year  one  thousand  five  hundred  thirtytwo.  Signed :  Bordel/ 

On  the  last  page  is  the  beautiful  final  border  of  *  Champ  fleury,'  in 
which  is  the  Pot  Casse ;  and  beneath  it  are  the  words :  'The  printing  of 
these  present  ordinances  was  finished  the  twentieth  day  of  July  m.  d.  xxxii, 
by  maistre  Geofroy  Tory  de  Bourges,  bookseller  and  king's  printer.' 

5 

Lhistoire  ecclesiastique  [of  Eusebius]  translatee  de  latin  en 

FRANCOIS  PAR  MESSIRE  ClAUDE  DE  SeYSSEL,  EVESQUE  LORS  DE  MaR' 

seille,  depuis  archevesque  de  Thurin. — Imprimee  par  le  com/ 
mandement  du  Roy  (Pot  Casse). — On  les  vend  a  Paris,  devant  leglise 
de  la  Magdelaine,  a  lenseigne  du  Pot  Casse.  Par  maistre  Geofroy  Tory 
de  Bourges,  mar  chant  Hbraire  et  imprimeur  du  Roy. — Avec  privilege 
pour  six  ans. 

Paris,  G.  Tory,  1532.  Folio;  6  preliminary  leaves,  151  leaves  of  text, 
numbered,  and  a  final  unnumbered  leaf,  on  the  verso  of  which  are  the 
words:  'The  printing  of  this  present  book  was  finished  the  xxi  day  of 
October,  m.  d.  xxxii,  by  maistre  Geofroy  Tory,'  etc.  Then  follows  the  Pot 
Casse,  surmounted  by  the  arms  of  France,  borrowed  from  the  verso  of  the 
title-page  of '  Champ  fleury.' 

I .  It  will  be  observed  that  the  judges  granted  the  license  for  but  one  year,  instead  of  the 


136 


GEOFROY  TORY 


6 

LeS  troys  premiers  LIVRES  DE  LHISTOIRE  DE  DiODORE  SiCILIEN,  HIS" 
TORIOGRAPHEGREC.TRANSLATEZDE  LATIN  ENFRANCOYSPAR  MAISTRE 
AnTHOINE  MaCAULT  NOTAIRE  SECRETAIRE  ET  VALLET  DE  CHAMBRE 

ORDINAIRE  duroYjFrancoys  PREMIER. — Imprimez  dc  I'ordonnance 
et  commandement  dudit  seigneur.  —  Avecques  privilege  a  six  ans. — 
On  les  vent  a  Paris  en  la  rue  de  la  luifverie,  devant  la  Magdalaine,  a 
I'enseigne '  du  pot  casse. 

At  the  end :  *  Imprime  a  Paris,  en  avril  m.  d.  xxx v.'  ^ — Quarto. 

The  title-page  of  this  book  is  embellished  by  a  portico^haped  border, 
w^hich  is  found  in  the  first  three  opuscula  described  in  this  section.  On 
the  verso  of  the  title,  in  the  vellum  copy  at  the  Bibliotheque  Nationale, 
is  the  final  border  of'  Champ  fleury,'  in  which  are  depicted  the  arms  of 
England,  with  the  device,  DIEV  EST  [sic]  MON  DROICT. 

The  author's  exordium  begins  with  a  large  letter  S,  decorated  with 
an  escutcheon  bearing  two  fasces  accompanied  by  nine  besants,  three 
by  three,  with  this  device  in  Greek:  mhketi  ('not  at  all');  these  are 
Macault's  arms,  doubtless.  This  letter  appears  again  on  folio  148.  Facing 
the  first  page  of  text  is  a  magnificent  engraving  representing  Frangois  I 
surrounded  by  his  court,  listening  to  Macault  as  he  reads  his  book  to 
the  king.  The  author  is  represented  in  a  clerical  costume,  with  a  calotte 
on  his  head.  Beside  him  are  the  three  sons  of  Francois  I :  Franpois,  who 
died  a  few  years  later,  Henri,  who  became  Henri  II,  and  Charles,  Due  d'Or/ 
leans.  This  engraving  is  a  faithful  copy  of  the  painting  on  Macault's  origin 
nal  manuscript,  which  was  still  in  France  in  18 11,  but  has  since  crossed 
over  to  England.  It  is  described  in  Part  3,  section  i  (pages  166-168). 

The  printed  book  forms  a  quarto  volume  of  8  unnumbered  prelim^ 
inary  leaves,  152  numbered  leaves  (signatures  A  to  Q_),  and  8  leaves  of 
index :  168  leaves  in  all.  On  the  last  page  is  the  final  border  of  'Champ 
fleury,'  which  appears  also  on  the  verso  of  the  title.^ 

three  that  Tory  had  asked.  I  have  seen  another  similar  collection  of  ordinances  in  the  name 
of  Galiot  Dupre,  dated  i  528,  for  which  the  judges  extended  the  license  to  two  years. 

1 .  Here  and  elsewhere  we  find  the  apostrophe,  but  its  use  is  not  yet  constant.  The  com- 
positors were  not  used  to  the  sign,  which  was  employed  to  designate  the  suppression  of  a  letter 
for  euphony's  sake. 

2.  It  may  be  that  we  should  read  i  536  new  style,  as  Easter  fell  in  that  year  on  April  16. 
We  add  this  book  to  Tory's  list,  although  he  was  dead  at  that  time,  because  it  was  evidently 
begun  by  him  and  finished  by  his  widow. 

3.  M.  Ambroise  Firmin  Didot  owned  a  copy  of  this  book,  on  paper,  in  its  ancient  binding, 
with  the  Pot  Casse.  He  owned  also  another  copy,  on  vellum. 


BIBLIOGRAPHY 


137 


PIERRE  ROIFET  ^ 


SECTION  IV.  WORKS  PRINTED  BY  TORY 
FOR  PRIVATE  INDIVIDUALS. 
I 

Antistitis  incomparabilis  Mich^lis  Bodeti,dum  viveret  episcopi 
Ducis  Lingonensis  et  PARIS  Franci^  Epicedium. 
Below  this  title,  the  arms  of  Michel  de  Boudet,  engraved  on  wood. 
At  the  end  is  the  Pot  Casse,  with  this  colophon:  'Parisiis  anno  salutis 
humans  1530-'  (Michel  de  Boudet  had  died  in  1529,  with  the  title  of 
duke  and  peer,  which  the  Bishops  of  Langres  had  borne  since  the  twelfth 
century.)  Six  quarto  leaves  [Paris, G.Tory,  1530].  Library  of  the  Faculty 
of  Medicine  of  MontpeUier,  no.  292. 

Having  had  occasion  to  visit  the  neighbourhood  of  MontpeUier  for 
reasons  connected  with  my  health,  I  seized  the  opportunity  to  exam' 
ine  this  volume  and  complete  my  information  concerning  it.  On  the 
first  page,  surrounded  by  the  border  of  the  Colines  copies  of  the  Hours 
of  1524— 1525,  are  these  words:  'Antistitis  Incomparabilis  Michaelis 
Bodeti  dum  viveret  Episcopi  Ducis  Lingonensis  et  Francis  Paris  Epi^ 
cedium.'  Then  the  arms  of  Michel  de  Boudet.  On  the  verso :  '  Cautum 
est  privilegio,  ne  quis  hoc  Epicedium  imprimat  aut  imprimi  curet  infra 
biennium  subpoena  in  diplomate  ad  hoc  obtento  contenta.'  The  four 
following  leaves  contain  a  poem  in  honour  of  Michel  de  Boudet ;  on  the 
sixth  is  the  Pot  Casse,  no.  6,  and  beneath  it :  '  Parrhisiis,  Anno  salutis 
humanas,  m.  d.  xxx.'  There  is  nothing  to  indicate  the  author  of  this 


GEOFROY  TORY 


little  work,  which  is  printed  in  the  same  type  as  the  Epitaphs  in  honour 
of  the  mother  of  Francois  I.' 

2 

Apologie  pour  lafoi  chrestienne  contre  les  erreurs  contenues 

EN  UN  petit  LIVRE  DE  MESSIRE  GeORGES  HaLEVIN. 

Paris,  G.  Tory,  1531.  Octavo. 

I  borrow  this  description  from  the  '  Catalogue  de  la  Bibliotheque  de 
feu  M.  de  La  Valliere '  (vol.  i,  p.  275),  for  I  have  not  been  able  to  inspect 
this  work,  which,  however,  should  be  in  the  Bibliotheque  de  1'  Arsenal 
with  M.  de  La  Valliere's  other  books,  and  in  the  library  at  Sainte^Gene^ 
vieve,  whither  it  must  have  gone  with  the  collection  of  Le  Tellier  in 
whose  catalogue  it  also  appears. 

3 

HisToiRE  DES  Empereurs  DE  TuRQUiE,  translated  from  Latin  into 
French  by  Barthelemy  Dupre.  1532. 

I  borrow  this  abridged  description  from  a  biography  of  Tory  pub' 
lished  by  M.  Chevalier  de  Saint' Amand,  honorary  librarian  of  Bourges, 
in  the  '  Annonces  Berruyeres,'  no.  38  (September,  2 1 , 1837).* 

4 

LaDOLESCENCE  CLEMENTINE.  AUTREMENT,  LeS  OeUVRES  DE  ClEMENT 
MaROT  DE  CaHORS  EN  QUERCY,  VALET  DE  CHAMBRE  DU  ROY,  COM' 
POSEES  EN  LEAGE  DE  SON  ADOLESCENCE. —  AVEC  LaCoMPLAINCTE 
SUR  LETrESPAS  de  FEuMeSSIRE  FlORIMOND  RobERTET.  Et  PLUSI' 
EURS  AUTRES  OeUVRES  FAICTES  PAR  LEDICT  MaROT  DEPUIS 

LEAGEDESADICTE  Ad  olescence.  Le  tout  r  e  veu,  cor  rige  &  mis  en 
bon  ordre.  —  On  les  vend  a  Paris,  devant  Lesglise  Saincte  Geneviefr^e 
des  Ardens,  Rue  Neufve  nostre  Dame.  A  Lenseigne  du  Faulcheur. — 
Avec  privilege  pour  Trois  Ans, 

At  the  end : '  The  printing  of  this  present  book  was  finished  on  Mon' 
day  the  xii  day  of  August.  Year  m.  d.  xxxii.  For  Pierre  Roffet,  called  le 
Faulcheur.  By  maistre  Geofroy  Tory  de  Bourges,  king's  printer. 

1 .  [This  paragraph  was  added  by  the  author  after  his  second  edition  had  gone  through  the 
press.] 

2.  In  his  Peintre-graveur  fran^ais,  M.  Robert-Dumesnil  mentions  an  edition  of  this  book 
with  the  date  1538,  Paris,  G.  Tory;  which  is  impossible,  as  Tory  died  in  1533. 


BIBLIOGRAPHY  139 

Octavo,  I  St  edition.  Only  a  single  copy  is  known,  now  in  the  Biblio' 
theque  Nationale.  The  volume  consists,  first,  of  four  preliminary  leaves 
(half  a  fold),  comprising:  (i)  the  title  which  I  have  just  transcribed; 

(2)  on  the  verso,  some  laudatory  verses,  among  which  figures  this  distich 
of  Tory,  who  was  not  only  Marot's  printer,  but  his  friend :  — 

'  Vis  lauros  cypriasque  comas,  charitesque,  iocosque, 
Inde  sales  etiam  nosse?  Marotus  habet '; 

(3)  Clement's  letter '  to  a  large  number  of  brethren,'  dated  August  1 2, 
1532,  that  is  to  say,  on  the  same  day  that  Tory  finished  printing  the 
book,  and  not  August  12, 1 530,  as  was  erroneously  printed  in  some  sub/ 
sequent  editions,  which  has  given  rise  to  a  theory  of  an  earlier  issue ' ; 

(4)  the  table  of  contents;  (5)  a  leaf  entirely  blank.  Then  comes  the 
text  of  the  '  Adolescence  Clementine,'  extending  from  folio  i  to  folio 
104,  on  which  is  the  word  '  finis ';  and  after  that  the '  Chant  royal,'  etc., 
from  1 05  to  1 1 5.  The  book  ends  with  a  Ust  of  errata  on  an  unnumbered 
folio  (116).  The  table  of  contents,  on  one  of  the  preliminary  leaves,  in-* 
forms  us  that  one  ode  had  previously  been  published  separately,  but  no 
copy  of  it  is  known. 

T^he  Same. 

A  second  edition  of  this  book  was  published  by  the  same  bookseller, 
and  the  printing  finished  by  Tory  on  November  13, 1 53  2.  It  differs  from 
the  first  in  this  respect,  that  the  text  and  preliminary  leaves  are  joined, 
or,  to  speak  more  accurately,  the  first  two  of  those  leaves ;  for  the  table 
of  contents  is  relegated  to  the  end  of  the  volume,  in  place  of  the  errata, 
which  no  longer  appear.  The  volume  consists  of  a  hundred  and  nine/ 
teen  leaves,  the  last  unnumbered.  The  word  '  finis '  still  appears  on  folio 
104,  after  the  'Adolescence  Clementine';  then  comes  the  'Chant  royal/ 
etc. ;  and  lastly  two  leaves  entitled :  *  Autres  CEuvres  faictes  en  sa  dicte 
maladie,'  indicated  by  this  phrase  on  the  title-page:  'Plus  amples  que 
les  premiers  imprimez  de  ceste,  ny  autre  impression.'  (Bibliotheque 
Mazarine.) 

6 

The  Same. 

A  third  edition  was  printed  by  Tory  on  February  12,  1532  (1533, 
new  style), like  the  preceding  in  every  respect, but  having  only  1 1 8  leaves. 

I.  See  M.  Brunet's  Manuel  de  Libraire,  5th  edit.  vol.  iii,  col.  144. 


140 


GEOFROY  TORY 


The  Same. 

A  fourth  edition  appeared  June  7,  1 533,  identical  with  the  preced/ 
ing,  except  that  the  words  on  the  title-'page, '  plus  amples,'  etc.  are  re^ 
placed  by  these :  *  Avec  certains  accens  notez,  cest  assavoir  sur  le  e  mas/ 
culin  different  du  feminim  \sic],  sur  les  dictions  ioinctes  ensembles  par 
sinalephes,  et  soubz  le  9  quant  il  tient  de  la  prononciation  de  le  s,  ce  qui 
par  cy  devant  par  faulte  daduis  n'a  este  faict  au  langaige  franf  oys,  com^' 
bien  q'uil  [sic]  y  fust  et  soit  tres  necessaire.' 

This  fourth  edition  of  the' Adolescence  Clementine 'was  the  last  work 
printed  by  Tory  to  my  knowledge.  In  the  intervals  between  these  four 
editions,  however,  he  had  published  the  works  of  Clement  Marot's  father, 
edited  by  Clement  himself,  under  the  following  title :  — 

8 

Ian  Marot  de  Caen,  sur  les  deux  heureux  Voyages  de  Genes  & 

VeNISE,  VICTORIEUSEMENT  MYS  A  FIN,  PaR  LE  TRESCHRESTIEN  RoY 
LOYS  DOUZIESME  DE  CE  NOM,  PeRE  DU  PeUPLE.  ET  VERITABLE' 
MENT  ESCRIPTZ  PAR  ICELUY  IaN  MaROT,  ALORS  PoETE  EsCRIUAIN  DE 
LATRESMAGNANIME  ROYNE  AnNE,  DUCHESSE  DE  BrETAIGNE,  &  DE-' 

PUYS  Valet  de  chambre  du  treschrestie  Roy  Francoys  pre' 
MiER  DU  NOM.  On  les  vcnt  a  Paris,deuant  Lesglise  SaincteGeneuiefue 
des  Ardens,  Rue  Neufiie  Nostre  Dame,  A  Lenseigne  du  Faulcheur.  — 
Auec  priuilege  pour  Trois  Ans.' 

At  the  end:  'The  printing  of  this  present  book  was  finished  the  xxii 
day  of  January,  m.  d.  xxxii  [1533,  new  style],  for  Pierre  Roufet,  called 
Le  Faulcheur,  by  maistre  Geufroy  Tory  de  Bourges,  king's  printer.' 

Octavo  of  1 01  leaves.  (Bibliotheque  Nationale.) 

In  this  edition  there  is  a  letter  of  Clement  Marot  mentioning  the 
death  of  his  father,  'author  of  this  book.' 


The  Same. 

M.  Brunet  cites  a  second  edition  of  this  book,  executed  by  Tory  for 
the  same  bookseller  in  1533. 

I .  There  is  a  copy  in  the  Bibliotheque  Nationale,  to  which  is  added  :  La  suite  de  P  Adoles- 
cence Clementine,  with  3  preliminary  leaves  and  i  26  of  text,  on  the  last  of  which  is  the  mark 
of  Pierre  RofFet,  signed  with  the  Lorraine  cross  [see  page  137,  supra];  but  not  printed  by 
Tory,  for  the  book  was  printed  for  the  widow  of  RofFet,  and  the  latter  did  not  die,  it  is  sup- 
posed, until  1537,  after  Tory's  death. 


PART  III.  ICONOGRAPHY. 


AS  I  have  hitherto  called  attention  to  the  books  that  we  owe  to  Tory 
whether  as  publisher,  as  author,  or  as  printer  and  bookseller,  so  it  will 
be  well  to  notice  those  which  he  enriched  with  his  paintings  and  engrave 
ings  during  twenty  years  of  his  life.  This  is  a  new  aspect  of  his  whole 
career  which  it  is  our  present  purpose  to  bring  into  view ;  for,  while  Tory 
was  for  some  time  teacher,  bookseller,  printer,  he  was  always  a  draughts^ 
man  and  engraver,  from  the  day  that  he  was  a  man  grown. 

But,  first  of  all,  there  is  a  preliminary  question  to  be  decided:  Was 
Tory  really  a  painter  and  engraver?  In  the  first  part  of  this  book  I  said 
that  he  was,  but  I  did  not  furnish  proofs  of  the  fact,  and  none  of  the  his^ 
torians  of  painting  or  of  engraving  have  mentioned  him  in  that  connect 
tion.  It  is  advisable  therefore,  first  of  aU,  to  demonstrate  the  accuracy  of 
my  assertion.  In  order  to  solve  this  complicated  question  more  easily,  let 
us  divide  it. 

Was  Tory  a  painter? 

That  Tory  was  a  painter/draughtsman,  there  can  be  no  doubt,  for  he 
himself  makes  the  assertion  in  express  terms  on  each  page  of  'Champ 
fleury.'  For  instance,  we  read  on  folio  3  verso  of  that  work,  apropos  of 
the  Gallic  Hercules: — 

*I  saw  this  same  fable  in  rich  painting  within  the  city  of  Rome  near 
the  Sanguine  tower,  not  far  from  the  Church  of  Saint  Louis, . . .  and 
the  better  to  keep  the  thing  in  my  eye,  I  made  this  drawing  . . .' 

In  the  collection  of  verses  written  by  him  on  the  occasion  of  the 
death  of  his  daughter  Agnes,  Tory  makes  her  speak  thus  from  the  urn 
wherein  she  is  supposed  to  repose:  — 


4 


142  GEOFROY  TORY 

MONITOR. 

Who  made  for  you  this  urn,  set  with  brilliant  gems  ? 

AGNES. 

Who?  My  father;  famed  in  this  art. 

MONITOR. 

Certes,  your  father  is  an  excellent  potter. 

AGNES. 

He  practises  industriously  every  day  the  liberal  arts. 

Thus  Geofroy  Tory  himself  informs  us  in  1523  that  he  industriously 
practised  the  arts.  Now,  if  this  were  true,  he  could  not  have  been  ignore 
ant  of  drawing,  which  is  the  first  of  all  the  arts.  Moreover,  it  is  plain 
that  in  those  days  an  engraver  (and  we  shall  prove  in  a  moment  that 
Tory  was  one)  could  not  fail  to  be  a  draughtsman.  The  artist  was  at  that 
time  an  all-round  workman,  embracing  all  the  special  branches  of  his 
profession :  painting,  drawing,  engraving,  he  took  a  hand  at  them  all. 
Not  until  it  became  vulgarized,  until  it  became  a  trade,  was  art  subdi^ 
vided — and  greatly  to  its  prejudice.  In  truth,  one  cannot  but  realize  all 
that  there  is  to  be  desired  in  the  work  of  those  mercenaries  of  the  en^ 
graver's  art,  who,  having  no  knowledge  of  the  first  elements  of  drawing, 
are  bidden  to  reproduce,  with  the  aid  of  the  graving  tool,  lines  which 
they  do  not  understand. 

We  can  therefore  assert  that,  as  a  general  rule,  the  engravings  found 
in  Tory's  books  were  drawn  by  him. 

But  this  is  not  all:  I  believe  that  we  should  also  attribute  to  him  the 
admirable  miniatures'  that  have  come  down  to  us  of  the  painter  known  by 
the  name  of '  Godefi"oy.'  If,  indeed,  we  compare  the  engravings  in  Tory's 
books  with  the  designs  of  that  painter,  we  readily  recognize  a  similarity 
of  execution  which  seems  to  establish  the  identity  of  the  two  men.  This 
Godefroy,  who  signs  his  works  sometimes  with  the  full  name,  sometimes 
with  a  simple  G,  but  always  in  roman  letters, — a  noteworthy  thing  at  a 
time  when  the  gothic  was  in  its  most  flourishing  state, — was  no  other 
than  Tory,  whose  baptismal  name,  as  we  have  seen,  was  in  Latin  Godo-' 
fredus.  We  know  how  little  was  thought  of  family  names  in  the  old 
days.  As  late  as  the  sixteenth  century  it  was  no  uncommon  thing  to  see 

I .  [It  should  be  borne  in  mind  that  the  word  miniature  as  used  in  this  book  has  not  its  ordi- 
nary present-day  signification;  it  means  here  any  ornamented  or  coloured  design  of  small  dimen- 
sions.] 


ICONOGRAPHY  143 

persons  designated  by  their  baptismal  names  alone,  or,  at  most,  with  the 
name  of  their  native  place  added.  We  have  seen '  that  the  famous  painter 
Jean  Perreal,  Tory's  master  and  friend,  was  little  known  except  by  the 
name  of  Jean  de  Paris.  Tory  himself  is  called  Godefroy  the  Berrichon 
(Gkxlofredus  Biturix)  in  some  verses  which  his  friend  Gerard  de  Vercel 
composed  in  his  praise  in  1512.^  Even  at  the  close  of  the  sixteenth  cen^ 
tury  our  two  leading  bibliographers,  Antoine  du  Verdier  and  La  Croix 
du  Maine,  who  also  bore  geographical  names,  deemed  it  proper  to  adopt 
no  other  order  than  that  of  baptismal  names  in  arranging  alphabetically 
the  authors  who  are  mentioned  in  their  books  entitled  '  Bibliotheque 
Fran^oise.'  There  is  nothing  extraordinary  therefore  in  Tory's  signing 
his  first  works  with  a  baptismal  name  alone.  It  is  true  that  that  name  is 
slightly  different,  orthographically  speaking,  from  the  one  that  he  used 
later;  but  it  is  well  to  remember  the  change  that  took  place  about  that 
time  in  our  author's  customs.  Doubtless  he  signed '  Godefroy '  before  he 
had  entirely  shaken  off"  the  yoke  of  the  classical  languages,^  and  had 
adopted  the  more  French  form  '  Geofroy,'  which  was  about  the  year 
1523- 

The  dates  inscribed  upon  some  of  Godefroy's  paintings,  1 5 1 9  and  1 520, 
coincide  perfectly  with  the  known  facts  of  Tory's  life :  that  was  the 
period  when,  after  his  second  return  from  Italy,  he  was  fain  to  utiHze 
his  talents  for  his  livelihood.  I  may  add  that  we  have  several  engravings 
of  that  same  period  signed  with  a  G  alone,  or  with  a  G  within  which  ap^ 
pears  a  small  f  ;  others  signed  with  a  G  surmounted  by  the  double  cross, 
vsdth  a  small  s  within ;  and  others  signed  G.  T.,  which  serve  to  mark  the 
transition  between  Tory's  use  of  the  simple  G  and  the  inscription  in  full 
of  his  two  names,  Geofroy  Tory.  These  two  names  appear  together  in 
one  of  the  borders  of  his  Hours  of  1 524-1525  [the  border  which  is  to 
be  found  on  p.  105]. 

Whatever  the  fact  may  be,  we  propose  to  give  here,  by  way  of  memo' 
randum,  at  least  a  brief  Hst  of  the  works  of  the  painter  Godefroy,  refers 
ring  the  reader  for  fuller  information  to  the  interesting  article  which  M. 
Leon  de  Laborde  has  published  upon  this  subject  in  the  *  Renaissance  des 
Arts,'  vol.  i.  pp.  89 1-9 1 3,  and,  later,  in  the '  Revue  Universelle  des  Arts,'  no. 
I  (1855),  which  article  we  reproduce  below  with  the  author's  consent. 

The  only  manuscripts  known  to  contain  drawings  of  this  artist  are 
'  Les  Commentaires  de  Cesar,'  in  three  small  quarto  volumes;  and  '  Les 


[2.  See  supra,  p.  71.] 


144  GEOFROY  TORY 

Triomphes  de  Petrarque,'  in  one  small  octavo  volume — all  written  in 
French  and  bound  in  vellum. 

The  first^named  work  is  not,  as  one  might  suppose  from  its  title,  a 
translation  of  the  famous  work  of  the  conqueror  of  Gaul,  but  a  com/ 
mentary  thereon  in  the  form  of  a  dialogue  between  Caesar  and  Fran9ois 
I,  to  whom  the  book  is  dedicated.  The  first  volume  is  now  in  the  British 
Museum  at  London,  the  second  in  the  Bibliotheque  Nationale  at  Paris, 
and  the  third  in  the  collection  of  M.  le  Due  d'Aumale.  All  the  minia' 
tures  in  the  first  volume,  and  there  is  a  great  number  of  them,  are  signed 
with  a  G;  some  bear  the  date  151 9.  The  same  is  true  of  the  second  voP 
ume.  One  of  the  miniatures  in  the  third  volume  is  signed  in  full,  'Gode^ 
froy'  (folio  52);  several  others,  signed  G  only,  are  dated  1520. 

As  for  the  'Triumphs'  of  Petrarch,  which  is  in  the  Bibliotheque  de 
I'Arsenal,  the  miniatures  bear  no  dates,  but  they  are  all  signed  with  a  G, 
and  one  has  in  addition  the  full  name, '  Godefroy.'  In  the  two  works  the 
drawings  have  the  same  general  appearance;  they  are  distinguished  from 
those  of  the  professional  miniaturists  by  a  very  marked  sobriety  of  colour^ 
ing.  They  are  noticeable,  moreover,  by  reason  of  a  delicacy  of  execu' 
tion  and,  at  the  same  time,  a  sharpness  of  outline  which  can  have  come 
from  no  other  hand  than  that  of  an  engraver ;  now  the  engraver  can 
have  been  no  other  than  Tory,  whose  shields  and  even  his  antique  ara^ 
besques  we  find  in  these  designs. 

In  addition  to  these  two  works,  of  which  the  name  and  the  style  of 
the  artist  seem  to  me  to  permit  their  being  attributed  to  Tory,  I  will 
mention  here  several  others,  of  a  somewhat  later  date,  which  likewise 
various  circumstances  make  it  possible  to  attribute  to  him. 

The  first  is  a  translation  of  the  first  three  books  of  Diodorus  Siculus, 
by  Antoine  Macault.  This  superb  manuscript,  which  was  in  the  library 
of  M.  Firmin  Didot  pere  in  18 10,  is  to-'day  buried  in  one  of  the  private 
libraries  of  England.  A  description  will  be  found  on  pp .  1 6 6- 1 6 8 .  It  is  true 
that  there  is  nothing  about  it  to  suggest  Tory,  but  the  style  of  the  paints 
ing  and  of  the  engraving  (the  book  was  printed  by  Tory's  widow  in 
1535)  leaves  no  doubt  as  to  his  authorship.  The  second  is  a  collection  of 
portraits  of  the  kings  of  France,  by  Jean  du  Tillet,  the  manuscript  of 
which,  presented  by  the  author  to  Charles  IX,  is  still  preserved  in  the 
Bibliotheque  du  Roi.  See  the  description  of  this  priceless  manuscript,  and 
of  several  others  preserved  in  the  same  collection.' 

We  come  now  to  the  second  question :  —  Was  Tory  an  engraver  ? 

I .  Infra,  pp.  169- 1  7  I . 


ICONOGRAPHY  145 

Neither  Zani  nor  Papillon  mentions  him  as  such;  nevertheless,  there 
is  one  presumption  in  his  favour.  La  Croix  du  Maine,  who  was  almost  his 
contemporary,  tells  us',  without  going  into  details,  it  is  true,  that  Tory 
was  known  by  the  name  'maitre  au  Pot  Casse';  others  have  said  that  he 
perfected  Josse  Bade's  letters.*  M.  Renouvier  has  recently  written^  that 
Tory  possessed  the  rare  faculty  of  using  the  'eschoppe '  [graver]  as  well  as 
the  pen. '  Le  Champ  fleury,'  he  says,  'is  a  treatise  on  aesthetics  such  as  none 
but  an  engraver  of  types  could  conceive.'  What  M.  Renouvier  conjectured, 
I  assert,  with  no  fear  of  being  contradicted  by  the  facts.  To  be  sure,  Tory 
did  not  anywhere  state  categorically  that  he  was  an  engraver ;  but  he  gave 
it  to  be  understood  indirectly.  For  example,  he  tells  us  that,  among  the 
fancies  that  came  to  his  mind  on  the  6th  of  January,  1 523,  and  resulted  in 
the  composition  of  'Champ  fleury,'  he  remembered  'a  letter  of  ancient 
form,'  which  he  had  'not  long  since  made  for  the  house  of  my  lord  the 
treasurer  of  the  wars,  maistre  Jehan  Groslier,  counsellor  and  secretary  to 
the  king  our  sire.'^  What  was  this  ancient  letter  made  for  the  famous  bib/ 
liophile  Grolier,  if  not  the  basis  of  the  beautifiil  roman  characters  which 
were  used  in  that  scholar's  establishment  to  decorate  his  books,  and  to 
stamp  upon  them,  in  gold,  this  excellent  device,  among  others, '  loannis 
Grolierii  et  Amicorum?'^ 

Again,  all  the  authorities  agree  that  Claude  Garamond  was  a  pupil  of 
Tory.  Now,  what  could  he  have  learned  from  his  master,  if  not  the  art  of 
engraving  types, — he  who  did  nothing  else  in  his  whole  life? 

Furthermore,  it  is  impossible  to  doubt  that  Tory  engraved  types  when 
one  runs  through  his '  Champ  fleury.'  Note  especially  what  he  says  on  folio 
34  recto,  where,  having  given  a  drawing  of  a  capital  A  reversed,  he  ex" 
plains  it  in  the  technical  terms  of  the  engraver. 

'This,'  he  says,  'is  done  to  help  and  give  hints  to  goldsmiths  and  en^ 
gravers,  who,  with  their  burin,  graver,  or  other  tool,  engrave  and  cut  an 
ancient  letter  reversed  [a  I'envers],  or,  as  we  say,  to  the  left,  so  that  it 
may  appear  to  the  right  when  it  is  printed  and  placed  in  its  proper  as/ 
pect.  1  have  purposely  made  it  white,  and  its  background  black,  the 
opposite  of  the  one  that  is  drawn  to  the  right,  so  that  no  one  may  be 

1 .  Bibliotheque  fran^oise,  article  '  Geufroy  Tory.'  The  author  of  Recueil  T  (vol.  xix,  p. 
20)  of  the  Melanges  tires  une  grande  bibliotheque,  published  by  M.  de  Paulmy,  also  says 
that  Tory  was  an  excellent  engraver,  the  maitre  au  Pot  Casse. 

2.  Lottin,  Catalogue  des  libraires,  vol.  ii,  p.  234, 

3.  Des  Types  et  des  manieres  des  maitres  graveurs,  etc.,  xvi^  siecle,  p.  1 65. 

4.  Champ  fleury,  fol.  i.  See  also  supra,  p.  iz. 

5.  ['Jean  Grolier's  and  his  friends'.']  The  ordinary  motto  of  Grolier's  books  is :  Portio 
mea,  Domine,  sit  in  terra  viventium.  [May  my  lot  be  cast,  O  Lord,  in  the  land  of  the  living.] 


146  GEOFROY  TORY 

misled.  For,  as  I  have  said,  I  have  seen  and  do  see  many  persons  who  are 
misled.  Before  the  letter  to  be  printed  is  finished,  it  is  made  tw^ice  re^ 
versed  and  twice  to  the  right.  In  the  first  of  the  reversed  there  are  the 
punches '  of  steel,  in  which  the  letter  is  wholly  left-'handed.  The  ma^ 
trices  have  the  letter  to  the  right.  The  letter  then  cast  is,  as  I  have  said 
of  the  punches,  left-handed.  Then  finally  on  the  printed  paper  the  whole 
appears  to  the  right,  and  in  its  proper  aspect  to  be  read  currently.  1  had 
forgotten  to  say  that  the  broad  leg  of  the  A  is  one  tenth  of  its  square  in 
width,  and  the  other  leg  one  third  as  wide.  The  transverse  limb  should  be 
three  fourths  as  wide  as  the  broad  leg,  as  you  may  see  by  the  drawings 
herewith  made  and  duly  proportioned.' 

After  this,  and  knowing  as  we  do  the  relations  between  Geofroy  Tory 
and  the  Estienne  family,  it  will  not  be  deemed  extraordinary  that  I  attri' 
bute  to  our  artist  the  italic  letters  of  Simon  de  Colines,  engraved  about 
1525,  and  the  roman  and  italic  letters  of  Robert  Estienne,  engraved  a  little 
later. 

But  Tory  not  only  engraved  letters,  that  is  to  say,  punches  on  steel, 
as  some  authors  have  stated :  he  signalized  himself  above  all  by  his  en^ 
gravings  on  wood,  and  he  illustrated  almost  all  the  books  of  his  time, 
which  fact  is  almost  wholly  unknown.  I  shall  be  asked,  doubtless,  upon 
what  evidence  my  opinion  is  based.  It  is  this:  In  the  license  to  print  the 
book  of  Hours,  granted  to  Tory  by  Fran9ois  I  on  September  23,  1524, 
we  read :  ^  •  Our  dear  and  welPbeloved  maistre  Geofroy  Tory  . . .  hath 
now  caused  it  to  be  made  known  and  shown  unto  us  that  he  hath  o  f  late 
made  and  caused  to  be  made  certain  pictures  and  vignettes  "  a  I'antique," 
and  likewise  certain  others, "  a  la  moderne,"  to  the  end  that  the  same  may 
be  printed  and  made  use  of  in  divers  books  of  Hours,  whereupon  he 
hath  employed  himself  a  very  long  time,  and  hath  made  divers  great 
expenditures  and  outlays.'  Evidently  the  words  'he  hath  made'  do  not 
here  apply  to  the  drawing,  but  to  the  engraving  of  these  pictures  and 
vignettes,  which  he  had  previously  drawn.  Moreover,  Tory  himself  be/ 
trayed  his  profession  of  engraver  on  wood  in  a  charming  vignette  which 
he  used  as  an  initial  in '  Champ  fleury,'  and  which  is  reproduced  on  page  i. 
For  we  see  therein,  besides  a  compass,  a  square,  etc.,  a  pen  and  several 
varieties  of  knives  used  in  wood'-engraving ;  all  of  which  justifies  the  re-- 
markof  M.  Renouvier:  'Tory  possessed  the  rare  faculty  of  using  the  graver 
as  well  as  the  pen.' 

1 .  ^Poin^ons:  that  is  to  say,  the  engraved  model  of  a  type,  on  the  end  of  a  steel  bar.] 

2.  [Seep.  106,  supra.] 


ICONOGRAPHY  147 

But,  I  shall  be  told,  it  avails  nothing  to  prove  vaguely  that  Tory  dab' 
bled  in  wood^engraving,  if  we  can  point  to  no  works  of  his  in  that  branch 
of  the  art, — for  no  one  has  done  so  hitherto.  I  propose  to  try  to  gratify 
the  reader's  desire,  by  proving  that  there  is  a  way  to  recognize  the  en^ 
gravings  executed  by  Tory. 

Many  persons  have  already  observed  that  the  principal  engravings  in 
Tory's  books,  those  which  are  most  individual,  as,  for  example,  the  GaP 
lie  Hercules  (reproduced  on  page  141),  and  that  of  the  Pot  Casse  which 
accompanies  the  description  of  that  emblem  in  'Champ  fleury'  (repro^ 
duced  on  page  21)  bear  a  mark;  but  this  mark  they  dare  not  attribute 
to  him,  because  it  is  constantly  found  upon  engravings,  alone  or  accom^ 
panied  by  initials,  for  more  than  a  century.  M.  Robert^Dumesnil,  in  his 
interesting  work  entitled '  Le  Peintre^Graveur  fran9ais,'  published  in  the 
course  of  his  article  on  Woeiriot,'  who  himself  used  this  same  mark,  a 
catalogue  of  engravings  signed  with  the  double  cross, — which  he  calls 
thecrossof  Lorraine  or  of  Jerusalem, — extending  from  1522  to  1632.  He 
concludes  that  this  mark  was  'frequently  employed  in  France,  as  a  fictiti^ 
ous  signature,  on  engravings  on  wood,  by  artists  whose  names  will  prob' 
^bly  remain  forever  buried  in  oblivion.' 

To  banish  this  phantom,  which  caused  M.  Renouvier  himself  to 
pause  on  the  pathway  of  truth,^  it  is  sufficient  to  come  to  close  quarters 
with  it.  This  is  what  I  propose  to  do;  but  first  I  must  thank  M.  Robert^ 
Dumesnil  for  having  satisfactorily  cleared  up  one  important  point.  Un'' 
til  his  book  appeared,  almost  all  the  engravings  marked  with  the  double 
cross  had  been  attributed  to  Woeiriot;  or,  rather,  the  engravings  of  the 
latter  had  added  to  the  perplexity  of  classifiers.  By  identifying  Woeiriot's 
work,  M.  Robert-'Dumesnil  has  simplified  the  problem  considerably.  Only 
a  small  number  of  pieces  remain  to  be  ascribed  to  their  authors,  and  as  to 
these  M.  Robert/Dumesnil  expresses  himself  thus:  'None  of  the  works 
executed  prior  to  Woeiriot's  birth  and  the  beginning  of  his  career  as  an  art' 
ist  can  be  by  him;  of  the  others  we  hasten  to  say  that  not  one  seems  to  us 
to  have  been  designed  or  executed  by  him.' 

Nothing  could  be  clearer.  Let  us  add,  to  close  the  discussion,  that 
Woeiriot  did  not  begin  to  engrave  until  long  after  Tory  had  ceased,  as 
he  was  barely  two  years  old  when  Tory  died;  and,  furthermore,  that  his 
cross  is  almost  always  accompanied  by  his  initials;  sometimes,  however, 

1 .  Vol.  vii,  pp.  48  ff. 

2.  [On  this  subject  M.  Renouvier  says  (^Des  Types  et  des  Manieres  des  Maitres  Graveurs, 
xvie  siecle,  1854,  p.  167):  '  We  cannot  attribute  it  [the  double  cross]  to  Geoffroy  Tory  ex- 
clusively, for  we  find  it  on  many  woodcuts  which  cannot  be  his.'] 


148 


GEOFROY  TORY 


he  uses  the  cross  alone,  but  in  that  case  the  date  prevents  confusion. 
Take,  for  example,  the '  Emblesmes  et  devises  chrestiennes  composees  par 
damoiselle  Georgette  de  Montenay,'  the  first  edition  of  which  was  in  1 5  7 1. 
It  is  impossible  to  attribute  these  engravings  to  Tory,  who  died  nearly  forty 
years  earlier. 

The  other  artists  who  used  the  cross  may  be  divided  into  three  classes, 
according  to  M.  Robert^Dumesnil's  book.  First,  we  find  the  cross  alone, 
from  1522  to  1561 ;  secondly,  after  a  long  interval,  in  1599,  the  cross  appears 
accompanied  by  the  initials  I,  L,  B;  and,  lastly,  a  little  later,  two  engravers 
on  copper,  named  Jean  Barra  and  Claude  Rivard,  signed  their  works  with 
the  cross.  I  do  not  include  here  the  double  cross  discovered  by  M.  Robert^ 
Dumesnil  on  the  printer's  mark  of  a  book  dated  163  2,  because  it  is  the  mark 
of  Gilles  Corrozet,  engraved  a  century  earlier,  as  we  shall  see  further  on. 

To  sum  up,  then,  there  are  no  anonymous  works  bearing  the  cross 
except  those  produced  between  1522  and  1561.  The  only  question  is 
whether  the  engravings  executed  between  those  dates,  which  bear  the 
cross  without  initials,  belong  to  one  or  to  several  artists. 

I  will,  first  of  all,  call  attention  to  the  fact  that  this  interval  embraces 
only  forty  years,  and  that  there  is  no  reason  to  attribute  to  several  con' 
temporaneous  and  anonymous  artists  a  very  peculiar  mark  which  a  single 
artist  might  have  used  during  an  even  longer  time.  But  this  is  not  all : 
this  interval  can  be  reduced  by  several  years ;  for  the  examples  alleged 
to  be  subsequent  to  1 557,  mentioned  by  M.  Robert'Dumesnil,bear  no  date; 
they  appear,  it  is  true,  in  books  printed  after  that  year,  but  they  were  en-' 
graved  earlier,  as  I  shall  prove  in  due  time.  Blocks  are  not  ephemeral  ob/ 
jects;  like  type,  they  can  be  used  indefinitely,  and  their  use  at  a  certain 
date  does  not  prove  that  they  had  been  made  within  a  short  time.  We 
have  just  cited  one — Gilles  Corrozet 's  mark — which,  simply  by  lack  of 
use,  it  was  possible  to  reproduce  in  books  for  more  than  a  century. 

What  surprises  me  is  not  that  M.  Robert^Dumesnil  has  seen  engrav 
ings  with  the  cross  printed  in  15  61,  but  that  he  has  found  none  of  a  later 
date,  which  would  have  allowed  him  to  fill  up  the  gap  that  he  has  left 
between  the  anonymous  artist  of  the  cross  alone  and  him  who  accom/ 
panied  it  with  the  letters  I,  L,  B;  he  might  have  discovered  the  beauti^ 
ful  illustration  of  the  Missal  of  1539,  which  is  described  hereafter,  in 
books  of  the  seventeenth  and  eighteenth  centuries.  Indeed,  we  find  wood 
engravings  of  the  sixteenth  century,  bearing  the  double  cross,  in  a  book 
published  at  Troyes  in  1850! 

On  the  other  hand,  I  am  surprised  that  M.  Robert-'Dumesnil  found 


ICONOGRAPHY  149 

no  engravings  with  the  cross,  accompanied  by  initials,  of  a  date  much 
earlier  than  1599,  for  I  myself  have  seen  some  that  were  contemporane^ 
ous  with  Tory.  In  fact,  the  Bibliotheque  Nationale  possesses  a  book  of 
Hours  according  to  the  use  of  Paris,  printed  in  that  city  in  1548,  by  Jean 
de  Brye's  widow,  in  which  all  the  engravings  are  marked  with  the  cross 
and  the  initials  L,  R.  It  is  an  octavo  volume,  printed  in  gothic  type,  and 
in  red  and  black.  An  interesting  fact  to  be  noted  here  is  that  these  en^ 
gravings  are  improved  copies  of  other  unsigned  engravings  belonging 
to  the  printer  Thielman  Kerver,"  and  printed  in  a  large  number  of  books 
issued  by  him  or  his  widow,  lolande  Bonhomme,  at  least  as  early  as  1522,^ 
and  still  to  be  seen  in  the  Paris  Missal,  published  by  his  son  Jacques  in 
1559.  I  have  seen  also  engravings  of  the  artist  with  the  initials  I,  L,  B 
(cited  by  M.  Robert/Dumesnil  under  the  date  of  1599),  in  a  book  of  1 547. 

These  facts  do  not  tend  to  contradict  my  proposition;  they  prove  that 
Tory  founded  a  school,  and  that  his  pupils  adopted  his  mark  (which  is 
nothing  more  than  his  initial,  or,  rather,  his  toret,  transferred  from  the 
Pot  Casse,  of  which  it  was  the  essential  feature,  to  his  engravings),  add' 
ing  thereto  their  initials,  to  distinguish  themselves  from  the  master  whose 
ensign  they  hoisted,  and  to  preserve  their  own  individuality.  I  shall  recur 
to  this  subject  later. 

The  principal  reason  which  prevented  M.  Renouvier  from  attribute 
ing  to  Tory,  as  he  was  naturally  inclined  to  do,  the  engravings  marked 
with  the  double  cross  alone,  was  the  impossibility,  in  his  judgement,  of 
attributing  them  aU  to  the  same  artist.  'M.  Robert/Dumesnil,'  he  says, 
'has  noted  a  large  number  of  books  of  1522  to  1599,  on  the  title-pages 
and  plates  of  which  the  cross  of  Lorraine  is  found.  This  list  might  be 
increased,  and  the  items  should  be  carefully  compared  by  whoever  would 
try  to  find  on  them  the  mark  of  a  wood-'engraving  establishment,  or  of 

1.  This  should  cause  no  surprise:  the  idea  of  property,  in  respect  to  artistic  productions,  is 
altogether  modern.  The  first  engravers  signed  almost  nothing;  it  was  not  until  the  sixteenth  cen- 
tury that  they  marked  their  works  with  special  emblems,  and  even  then  it  was  not  so  much  with 
the  object  of  assuring  themselves  a  monopoly  in  them,  as  with  that  of  making  themselves  known 
to  persons  who  might  require  their  services  for  other  works.  Little  by  little  this  species  of  ad- 
vertisement became  an  effective  muniment  of  title,  —  in  the  natural  order  of  things.  It  was  the 
same  with  works  of  the  mind.  Not  until  quite  a  late  period  were  scholars  and  other  men  of  let- 
ters able  to  derive  any  profit  from  their  works.  In  the  early  days  of  printing,  even,  a  printer  who 
proposed  to  reprint  a  book  did  not  consider  himself  bound  to  obtain  the  author's  consent.  From 
the  moment  that  he  made  his  book  public,  it  was  regarded  as  a  treasure  belonging  to  society  at 
large. 

2.  Hours  in  quarto  in  the  Bibliotheque  Nationale  (Brunet,  Manuel  de  Libraire,  5th  ed. 
vol.  v,  col.  1623,  no.  197).  There  is  also  an  edition  of  1 525  (ibid.,  no.  198 ),  and  one  much 
later,  but  lacking  the  first  and  last  leaves.  M.  Silvestre  owns  an  octavo  edition  of  1530. 


150  GEOFROY  TORY 

several  engravers  on  wood  who  worked  for  the  booksellers  Pierre  Gau' 
doul,  Simon  de  Colines,  Robert  Estienne,  Grouleau,  Gilles  Corrozet,  Vin-* 
cent  Sertenas,"  etc' 

I  have  already  answered  the  objection  based  upon  M.  Robert^Dumes' 
nil's  book,  which  he  himself  has  abandoned  with  great  pleasure,  taking 
a  deep  interest  in  my  discovery. As  for  what  M.  Renouvier  adds,  it  does 
not  run  counter  to  my  suggestion,  for  I  have  already  mentioned  that, 
after  Tory's  death,  his  widow  carried  on  his  engraving  establishment  for 
several  years,  retaining  the  same  mark.  This,  doubtless,is  the  explanation 
of  the  differences  to  be  noticed  in  the  works  signed  with  the  Lorraine 
cross;  for  Perrette  le  Hullin,  not  being  an  engraver  herself,  must  have 
employed  different  workmen. 

This  leads  me  to  answer  an  objection  that  has  been  made  to  my 
theory.  My  attention  has  been  called  to  the  fact  that  the  Lorraine  cross 
appears  on  works  anterior  to  Tory, —  such,  for  example,  as  the  mark  of 
Gauthier  Lud,  the  first  printer  of  Saint'Die  in  Lorraine.  I  have  no  pur'' 
pose  to  claim  the  Lorraine  cross  for  Tory  alone.  He  was  not  its  inventor, 
nor  did  it  die  with  him;  but  there  is  a  distinction  to  be  made  between 
an  emblem  employed  in  a  general  way,  and  one  employed  as  the  special 
mark  of  an  artist.  Not  only  do  I  not  claim  for  Tory  the  Lorraine  cross  sur-* 
mounting  a  circle,  which  appears  on  the  mark  of  the  Lorraine  printer, 
Gauthier  Lud,^  in  1 507,  but  I  exclude  the  Lorraine  cross  surmounting  a 
large  gothic  G,  found  on  the  title-page  of  a  folio  Missal  according  to  the 
use  of  the  church  of  Toul,  printed  at  Paris  by  Wolfgang  Hopyl,  in  1 508 
To  my  mind  nothing  could  be  more  natural  than  that  the  Lorraine  cross 
should  be  used  in  Lorraine ;  but  that  does  not  prove  that  an  artist  at 
Bourges  may  not  have  adopted  it  as  the  mark  of  his  establishment. 

I  mention  hereafter  as  one  of  Tory's  first  engravings  on  wood  the 
title-page  of  a  book  printed  at  Meaux  in  1522,  and  I  then  say  that  the 
preface  of  that  book  was  dated  'Meldis,  anno  m.  d.  xxi.'5  M.  Brunet 
makes  me  say,^  I  cannot  imagine  why,  'Metis'  instead  of 'Meldis';  and 
M.  Didot,  misled  by  that  statement,  says  that  the  book  in  question  was 
published  at  Metz,^  which  fact  seems  to  him  to  explain  the  presence  of 

1.  Des  Types,  etc.,  xvi'^siecle,  p.  167,  note, 

2.  MM.  A.  Deveria,  Robert- Dumesnil,  and  J.  Renouvier  have  all  died  since  the  first  edi- 
rion  of  this  book. 

3.  See  Brunet,  Manuel  de  Libratre,  5th  edition,  article  Cosmographia. 

4.  Beaupre,  Notice  bibliographique  sur  les  livres  liturgiques  des  dioceses  de  Toul  et  de  V er- 
dun,  8vo,  I  843,  p.  16. 

5.  Infra,  §2;i52i-i522(p.  175).  6.  Manuel,  etc.,  5th  edition,  vol.  ii,  col.  1 1 86. 
7.  Essaisur  lagravure  sur  bois,  col.  147  and  1 50. 


ICONOGRAPHY  1 51 

the  Lorraine  cross  on  the  title.  This  shows  how  an  error  may  be  appealed 
to  in  support  of  a  theory. 

Not  only  have  I  not  exaggerated  the  part  played  by  my  hero,  as  a.w 
thors  are  somewhat  in  the  habit  of  doing, — on  the  contrary,  1  have  re^ 
stricted  it  as  much  as  possible.  Since  the  publication  of  my  first  edition, 
an  attempt  has  been  made  to  prove  Tory  to  be  the  maker,  or,  at  least, 
the  decorator,  of  the  beautiful  Henri  II  porcelains,  so'called,  the  subject 
of  a  recent  publication  of  MM.  Delange,  father  and  son.  M.  Didot  him^ 
self  adopted  this  opinion,'  which  is  based  upon  a  vague  similarity,  but  is 
completely  refuted  by  the  date  of  Tory's  death.  So  far  as  I  am  concerned, 
appearances  are  of  no  consequence,  unless  they  are  accompanied  by  some 
substantial  evidence;  and  that  is  why  I  have  excluded  from  the  list  of 
Tory's  works  some  engravings  that  Messrs.  Renouvier  and  Didot  do  not 
hesitate  to  attribute  to  him  because  of  certain  similarities,  but  which  do 
not  bear  his  mark.  It  is  that  mark  which  has  served  me  as  a  guide  in  iden^ 
tifying  Tory's  work.  The  objection  is  made,  to  be  sure,  that  this  plan  re^ 
quires  the  attribution  to  Tory  of  engravings  of  very  dissimilar  styles.  Every 
plan  has  its  disadvantages ;  but,  all  things  considered,  I  prefer  one  that  has 
something  to  stand  upon  to  one  that  has  nothing.  Moreover,  it  is  easy  to 
explain  the  different  styles  of  the  artist  of  the  Lorraine  cross  by  referring 
to  what  has  often  taken  place  in  the  careers  of  other  artists.  In  truth,  how 
many  painters  have  we  seen  change  their  style  of  painting  at  a  certain 
period  of  their  lives!  But  there  is  an  even  simpler  way  of  explaining  these 
dissimilarities  in  different  engravings,  namely,  by  admitting  with  me  that 
the  Lorraine  cross  was  the  mark  of  Tory's  workshop,  but  that  in  that  wor  k^ 
shop  there  were  other  artists  of  very  diverse  abilities.  In  the  same  way,  we 
see  to-day  a  multitude  of  engravings  signed  'Andrew,'  'Best,'  *  Leloir,'  to 
which  those  artists  certainly  never  put  their  hands. 

But  let  us  have  done  with  argument  and  come  to  the  facts:  they  will 
prove  more  conclusively  than  any  number  of  dissertations  the  truth  of 
our  statement  concerning  Tory;  they  will  prove,  in  fact,  that  all  the 
works  signed  by  the  cross  alone  were  engraved  during  that  artist's  life/ 
time,  or  in  the  establishment  which  he  founded  and  which  his  widow  re^ 
tained  until  about  1556. 

To  make  the  demonstration  clearer,  I  will  divide  what  I  still  have  to 
say  into  three  sections.  In  the  first  I  will  include  all  the  manuscripts  the 
decoration  of  which  can  be  attributed  to  Tory;  in  the  second  I  will  de-- 
scribe  aU  the  engravings  marked  with  the  Lorraine  cross  that  are  known 

1 .  Essai  sur  la  gravure  sur  bois,  col.  138. 


152  GEOFROY  TORY 

to  me,  arranging  them  in  chronological  order;  and  in  the  third  I  will 
mention  such  marks  of  printer^booksellers  bearing  the  aforesaid  cross, 
as  I  have  been  able  to  discover.  As  it  is  impossible  for  me  to  follow  the 
chronological  order  in  this  last  category,  I  have  adopted  the  alphabetical 
order,  which  will  enable  one  to  find  at  once  such  of  these  marks  as  are 
mentioned  in  the  second  section. 


SECTION  I.  MANUSCRIPTS  DECORATED  WITH 


MINIATURES  BY  TORY. 

1.  COMMENTAIRES  DE  CESAR. 

2.  Triomphes  DE  Petrarque, 

For  a  description  of  these  two  manuscripts '  I  cannot  do  better  than  trans' 
cribe  in  this  place  the  interesting  work  of  Comte  Leon  de  Laborde.  I 
print  this  work  just  as  it  was  published  several  years  ago,  having  no  a.w 
thority  to  modify  it.  But  I  think  that  I  may  venture  to  say  that  if  it  had 
been  prepared  since  the  publication  of  my  book  on  Tory,  it  would  con^ 
tain  a  judgement  in  his  favour.  That  seems  to  me  to  be  the  result  of  my 
conversations  with  M.  de  Laborde.  My  friend  M.Jules  Renouvier,  whose 
death  is  so  deeply  to  be  deplored,  and  in  whose  company  I  examined  the 
volume  of  the  'Commentaires'  in  the  Bibliotheque  Nationale,  was  en^ 
tirely  of  my  opinion.  He  spoke  of  the  manuscript  in  question  in  these 
terms  in  a  critical  review  of  the  first  edition  of  my  book  on  Tory,  printed 
in  the  « Revue  UniverseUe  des  Arts'  for  September,  1857  (vol.  v,  no.  6, 

P-5II):  — 

'The  point  that  we  knew  least  about  was  Tory's  debut  in  the  career 
of  an  artist.  It  was  most  brilliant  if  we  agree  with  M.  Bernard  that  he 
was  the  author  of  the  miniatures  found  in  two  well-known  manuscripts, 
the  "Commentaires  de  Cesar"  in  three  volumes  and  the  "Triomphes  de 
Petrarque,"  in  which  we  find  the  signatures  "  G,"  and  "  Godefroy,"  and  the 
dates  1 51 9  and  1520.  M.  de  Laborde  has  recently  described  them  with  aU 
the  care  that  they  deserve,  without  discovering  who  this  Godefroy  was. 
He  was  no  other  than  Geofroy  Tory,  says  M.  Bernard,  and  this  opinion 
is  plausible;  for,  if  the  subsequent  work  of  the  engraver  on  wood  does 
not  fulfil  the  promise  of  the  miniaturist,  the  drawing  is  governed  by 
identical  characteristics,  and  the  similarity  of  style  is  striking,  especially 
when  we  consider  the  engravings  that  are  nearest  in  point  of  time,  as 

I.  According  to  M.  Dussieux,  Les  Artistes  fran^ais  a  P etr anger,  p.  67,  the  first  is  un- 
questionably the  chef-d'cEuvre  of  miniature-painting  in  the  Italian  style. 


154  GEOFROY  TORY 

those  of  "Champ  fleury,"  dated  1 5 26.  Considered  from  this  point  of  view, 
Geofroy  Tory  is  the  most  precocious  of  the  artists  of  the  Renaissance: 
before  the  masters  of  Fontainebleau,  he  introduced  the  stately,  graceful 
and  individualized  figures,  which  aroused  enthusiasm  in  the  time  of 
Francois  I,  to  which  Italy  lent  much  of  her  style,  and  Germany  a  little 
of  her  force,  but  which  were  more  thoroughly  French  than  is  generally 
admitted.  It  is  well  known,  moreover,  that  these  miniatures  were  origin 
nally,  even  in  the  "  camaieu"  process,  heightened  in  effect  by  chatoyant 
tones,  with  subtleties  of  drawing  which  denote  a  hand  more  apt  to 
handle  the  pencil  than  the  brush,  and  altogether  adapted  to  the  tools  of 
the  engraver.  The  draughtsman  loses  a  part  of  his  distinction  in  passing 
from  a  privileged  to  a  commonplace  form  of  art;  but  so  the  progress 
of  art  willed.' 

The  work  of  M.  Leon  de  Laborde  follows:  — 

GoDEFROY,  Painter  to  Francois  I. 

Godefroy  has  left  us,  in  four  small  volumes, — the  first  three  entitled 
'Commentaires  de  Cesar,'  the  fourth  'Triomphes  de  Petrarque,'  —  the 
proof  of  a  fruitful  imagination,  of  a  talent  in  portrait-'painting  no  less 
flexible  than  varied,  and  of  a  superiority  original  with  himself,  and  thor^ 
oughly  French, — a  very  unusual  combination  of  the  qualities  peculiar  to 
our  school  prior  to  the  formation  of  the  school  of  Fontainebleau,  and  of 
the  qualities  —  or,  to  speak  more  accurately,  the  defects — which  that  col/ 
ony  of  foreign  artists  was  soon  to  introduce  in  our  midst. 

These  four  volumes,  after  divers  vicissitudes,  repose  at  last,  at  the  end 
of  their  journeyings  and  safe  from  the  risk  of  destruction,  the  first  in  the 
British  Museum  at  London,  the  second  in  the  Bibliotheque  Nationale  at 
Paris,  the  third  in  the  collection  of  H.  R.  H.  the  Due  d'Aumale,  and  the 
fourth  in  the  Bibliotheque  de  I'Arsenal.  I  will  describe  first  the  '  Com' 
mentaires  de  Cesar,'  a  beautiful  manuscript,  the  three  volumes  of  which 
I  have  had  before  me  one  by  one.  There  are  in  this  work  three  things 
worthy  of  remark,  to  which  I  shall  direct  the  reader's  attention  for  a 
brief  space.  First,  the  composition  of  the  work;  second,  the  painting  of 
the  decorations;  and  lastly,  the  portraits. 

The  author,  a  native  of  Flanders  or  Artois,  transplanted  to  the  Court 
of  France,  displays  no  overplus  of  wit  or  imagination.  He  supposes  that 
King  Fran9ois  I,  in  one  of  his  excursions,  or  while  hunting,  meets  Julius 
Caesar,  and  that  they  converse.  The  subject  of  their  dialogue  is  the  Gallic 
war;  it  is  a  sort  of  commentary  on  Caesar's  Commentaries,  with  transpar/ 


ICONOGRAPHY  155 

ent  allusions  to  the  events  of  the  reign  of  Fran9ois  I.  It  is  in  these  allusions 
that  we  detect  the  author's  predilection  for  the  Belgs,"  with  whose  coun^ 
try  he  is  familiar,  and  particularly  for  the  city  of  Tournay,^  which  may 
well  have  been  his  native  place.  I  do  not  propose  to  draw  any  inference 
from  his  hatred  of  the  English  3;  although  more  violent  in  our  northern 
provinces  than  elsewhere,  that  sentiment  was  then  universal  in  France. 
It  would  seem,  at  least  so  far  as  the  implements  of  war  are  concerned,  that 
the  painter  who  was  employed  to  embellish  the  manuscript  worked  under 
the  author's  direction.  We  find  in  several  places  remarks  like  this :  'The 
tower  is  sufficiently  described  by  the  engines  that  I  have  caused  to  be  drawn 
herein.' 

For  the  rest,  we  feel  that  we  have  to  do  with  a  conscientious  author; 
and  simply  by  the  extracts  which  follow,  we  may  recognize  the  man 
who  is  uncertain  and  hesitates,  the  student  who  leaves  every  one  in  pos^ 
session  of  his  rights  and  who  confides  his  doubts  to  the  reader.  On  the 
eighth  leaf  of  volume  two  he  has  instructed  Godefroy,  the  painter,  to 
reproduce  an  antique  medallion;  he  writes  in  the  margin:  'I  fear  that  it 
is  not  that  Cassius  who  was  a  conspirator  in  the  death  of  Caesar,  for  his 
name  was  Caius  Cassius,  and  I  find  on  the  medallion  Ouintus  Cassius.' 
As  to  one  of  the  pictures  of  machines  of  war  he  makes  this  comment: 
'Certain  pictures  of  implements  of  war,  as  they  are  portrayed  by  Frere 
Jocunde  in  book  x  of  Vitruvius.'  Beside  another,  he  says:  'I  am  not  the 
inventor  of  the  machines  which  follow,  for  I  found  them  in  a  book  that 
I  secured  long  ago  at  Chastellerault,  at  the  Lyon  d'or.' 

To  this  curious  piece  of  information  let  us  add  another,'*  which  tells 
us  that  the  author  of  the  book  was  in  relations  with  an  artist  of  Blois, 
a  clock/maker  and  inventive  genius:  'The  two  pictures  that  follow  [two 
warlike  machines]  were  taken  from  a  book  that  Julian,  clock^maker  at 
Bloys,  gave  me. — Julian  is  a  man  of  great  wit  and  knows  many  things.' 

A  passage  on  folio  xxii  verso  of  the  second  volume  seems  to  prove 
that  the  manuscript  was  written  during  the  years  1519  and  1520:  'By 
the  map  [a  map  of  Gaul]  placed  at  the  beginning  of  the  translation  of  the 
first  book  made  at  Saint  Germain  en  Laye  in  the  month  of  April  in  the 
year  one  thousand  five  hundred  nineteen,  you  will  see  clearly  who  the 
Belgas  are.' 

1 .  See  folio  86  of  the  second  volume :  '  The  Aduatuci,  that  is  to  say  those  of  Bois  le  Due,  are 
in  Brabant,  within  xii  leagues  of  Envers,  neighbours  of  Monsieur  de  Gueldres.' 

2.  Folios  59,  64,  69,  72,  and  77  of  the  second  volume. 

3.  Folios  30  recto  and  3 1  verso  of  the  second  volume. 

4.  Vol.  ii,  folio  93. 


I 


156  GEOFROY  TORY 

After  the  author,  it  is  proper  to  speak  of  the  calligrapher  who  wrote 
the  manuscript ;  but  there  is  nothing  to  be  said  save  that  it  is  in  a  fair 
hand.  The  painter  Godefroy  deserves  more  consideration  and  careful  at' 
tention.  Let  us  not  forgot  that  we  are  dealing  with  a  perfectly  well^fixed 
time,  limited  to  the  years  151 9  and  1520;  let  us,  at  the  same  time,  recall 
the  great  national  movement  in  art  in  France  from  1450  to  1 500,  the  Itab 
ian  campaigns,  the  arrival  of  artists  and  objects  of  art  from  Italy  during 
the  reigns  of  Charles  VIII  and  Louis  XII,  and  lastly,  and  above  all,  the  so^ 
journ  in  France  of  the  two  great  Italian  masters,  Leonardo  da  Vinci  and 
Andrea  del  Sarto,  from  151 5  to  151 8.  Born  and  trained  amid  such  influx 
ences,  a  French  painter  undertakes  to  decorate  a  manuscript  for  King 
Francois  I.  What  does  he  do  to  satisfy  the  prevailing  taste,  the  fashion, 
without  denying  his  past?  He  divides  his  talent  into  two  parts,'  and  de^ 
votes  one,  the  French  part,  to  the  portraits,  the  other,  the  Italian  imita^ 
tion,  to  the  decorations;  in  both  he  gives  proof  of  abundant  talent.  In  the 
one  case,  an  exact,  shrewd  observer,  he  paints  faces  by  faithfully  repro' 
ducing  their  individual  traits;  in  the  other,  fertile,  never  the  same,  abound/ 
ing  in  resources  in  the  ensemble  and  the  details  of  his  compositions,  he 
is  the  pupil  of  Leonardo  da  Vinci,  with  suggestions  of  Mantegna  and  the 
artists  of  the  first  Italian  Renaissance  in  the  proportion  of  the  figures,  in 
the  ungracefulness  of  the  attitudes,  and  in  the  types  of  the  heads. 

From  this  period,  from  these  influences,  and  not  from  Primaticcio, 
who  was  himself  subjected  to  them,  dates  the  Fontainebleau  school.  It 
was  adapted  to  the  figure  and  the  type  of  beauty  of  Diana  de  Poitiers ; 
she  encouraged  it ;  but,  I  say  again,  it  was  formed,  it  was  current,  before 
the  reign  of  the  mistress  of  Henri  II  and  before  the  painter  who  is  its 
most  characteristic  expression.  If  we  seek  to  discover  what  method  of 
execution  was  adopted  by  Godefroy,  we  see  that  his  portraits  are  charm/ 
ing  miniatures,  comparable  with  the  finest  examples  that  we  have  of 
French  miniature/painting;  as  for  the  drawings,^  there  are  some  that  are 
almost  grisailles,  almost  coloured — a  mongrel  and  conventional  scheme, 
of  very  doubtful  taste.  The  painter  drew  his  whole  subject  with  the  pen, 
with  a  sureness  of  touch  which,  it  must  be  said,  has  no  parallel  in  such 

1.  I  hesitated  a  long  time  before  adhering  definitely  to  this  opinion;  at  the  outset  I  thought 
that  I  detected  two  painters,  one  for  the  portraits,  one  for  the  decorations;  but  soon,  after  study- 
ing more  closely,  after  comparing  the  miniatures,  the  small  figures  in  the  columns,  the  amazing 
imitations  of  ancient  medallions,  and  lastly  the  portraits,  I  became  absolutely  certain  that  a  sin- 
gle hand,  guided  by  a  flexible  and  varied  talent,  combined  these  different  types  and  produced  the 
whole. 

2.  Their  dimensions  vary  from  90  to  100  millimeters  in  height,  and  from  60  to  70  in  width. 


ICONOGRAPHY  157 

microscopical  dimensions,  especially  with  respect  to  the  faces  and  the 
landscapes ;  then  he  laid  in  the  general  outline,  with  the  brush  and  with 
sepia,  in  flat  tones,  rather  lacking  in  life.  Thus  far  he  did  not  depart  from 
the  canons  of  art;  but  he  added  coloured  costumes,  suits  of  armour,  gilded 
trappings,  and  a  multitude  of  details  which  flutter  about  in  his  grisaille 
and  depart  from  nature  in  a  most  extraordinary  way.  I  have  said  that  his 
figures  are  reminiscences  of  Italian  works.  We  find  among  them  Dona^ 
tellesque  forms,  profiles  perdus,  and  bold  gestures  that  recall  Mantegna, 
Perugino-'like  graceful  attitudes  and  ways  of  carrying  the  head,  and,  in 
spite  of  everything,  a  French  background,  and  points  of  resemblance  to 
Holbein,  which  might  be  taken  to  signify  that  Godefroy  had  never  seen 
Italy.  Our  national  Renaissance  had  made  such  progress  in  nearly  a  cen^ 
tury  that  our  artists  needed  only  a  few  drawings,  a  few  engravings,  with  the 
impulsion  given  by  Leonardo  da  Vinci  and  Andrea  del  Sarto,  to  enter  that 
Italian  current.  It  maybe  that  our  compatriot,  like  Holbein,  was  subjected 
to  this  influence  from  afar,  at  second  hand,  without  having  crossed  the 
mountains. 

First  volume} — The  book  opens  with  a  map  of  Gaul,  and  we  read 
on  the  verso  of  the  first  leaf  the  following  passage,  written  within  a  car^ 
touche :  <  Franpoys,  by  the  grace  of  God,  King  of  France,  a  second  Cassar, 
vanquisher  and  subduer  of  the  Souycez  [Swiss],  on  the  last  day  of  April, 
one  month  after  the  birth  of  his  second  son,  in  his  park  of  Sainct^Germain^ 
en^Laye,  fell  in  with  Julius  Caesar  and  questioned  him  shrewdly  concern/ 
ing  the  contents  of  the  first  book  of  the  Commentaries.'  In  another  car/ 
touche  is  a  passage  of  which  we  need  transcribe  no  more  than  the  first 
words:  'Cassar,  first  subjugator  of  the  Helvecez  [Helvetii,  Swiss],  gra/ 
ciously  made  reply  to  him,'  etc. 

On  the  third  leaf  Godefroy  has  painted  the  portrait  of  Franfois  I,  head 
and  shoulders  alone,  in  a  medallion.  He  wears  his  usual  costume  and  the 
cap,  without  a  feather,  adorned  with  a  banner.  His  features  and  his  whole 
countenance  are  idealized  —  they  are  a  little  stifle  and  sharp;  the  artist 
has  sought  to  produce  an  ideal  antique  head.  The  first  miniature,  on  the 
verso  of  the  fifth  leaf,  bears  the  date  15 19,  with  no  monogram;  the  others 
— folios  9,  13,  17,  21,  23,  31,  33,  36,  43,  53,  60,  and  so  on  to  the  end  — 
are  signed  with  a  G,  and  dated  the  same  year.  On  the  miniature  painted 
on  the  recto  of  foHo  53,  the  initial  of  the  artist's  name  is  traced  on  the 
trunk  of  a  tree  from  which  hangs  a  small  cartouche  with  the  words, 
'Besanson,  15 19.'  To  be  sure,  the  corresponding  passage  in  the  text  re/ 

I.  British  Museum  (Harleian),  no.  6205. 


158  GEOFROY  TORY 

quires  that  the  miniature  in  question  should  represent  that  venerable  city, 
but  a  certain  precision  in  the  details,  and  a  sort  of  predilection  manifested 
in  the  care  bestowed  upon  the  execution,  lead  me  to  believe  that  the  view 
was  painted  after  nature,  and  that  Godefroy  was  attached  to  that  city  by 
some  bond. 

I  have  already  spoken  of  the  special  characteristics  of  these  miniatures, 
and  I  will  mention  here  only  the  one  on  folio  23,  which  represents  the 
building  of  a  bridge  over  the  Saone.  In  the  foreground  we  see  figures 
reminiscent  of  the  painter  Mantegna  in  their  activity,  their  vigour,  and 
a  certain  almost  antique  grace.  The  artist  has  retained  the  long  pointed 
shoes  to  mark  the  Frenchman;  this  is  an  ill'-timed  display  of  arctm> 
logical  learning. 

The  volume,  a  large  octavo,  shaped  like  a  note^'book,  contains  76  leaves, 
including  the  map.  It  is  in  its  original  binding  of  red  morocco,  with  orna-- 
ments  of  wreaths  of  fleurs-de-lis,  stamped  with  small  tools.  One  can  see 
the  marks  of  the  ribbons  which  were  used  to  close  it  and  to  keep  the  vel/ 
lum  from  puckering.  On  the  recto  of  the  first  leaf,  below  the  map  of 
Gaul,  are  the  words :  *  Bibliothecs  Christophori  Justelli.'  This  note,  while 
it  establishes  the  antiquity  of  the  manuscript,  also  explains  its  emigra" 
tion  to  England.  Christophe  Justel,  Councillor  and  Secretary  to  the  King, 
died  at  Paris  in  1649,  at  the  age  of  seventy,  leaving  to  his  son,  together 
with  the  taste  for  study,  a  valuable  collection  of  books  and  manuscripts. 
Among  the  latter  was  this  first  volume  of  the  '  Commentaires  de  Cesar.' 
Henri  Justel  succeeded  his  father  in  the  office  of  Secretary  to  the  King ; 
also  in  his  literary  studies  and  in  the  liberality  with  which  his  library  and 
house  were  thrown  open  to  scholars.  The  letters  of  all  the  learned  men  of 
the  time  bear  witness  to  his  hospitality  offered  to  learning. 

He  published  at  Paris,  in  1 661,  the  'Bibliotheca  juris  canonici  veteris 
ex  antiquis  codd.  mss.  bibliothecae  Christophori  Justelli,'  in  two  folio  vol/ 
umes,  and  he  seemed  destined  to  pursue  in  peace  his  erudite  career.  But 
the  tempest  called  the  Revocation  of  the  Edict  of  Nantes  was  preceded, 
for  far'-seeing  Protestants,  by  premonitory  signs  which  were  enough  for 
Henri  Justel.  He  packed  up  his  books  and  crossed  to  England,  where  he 
was  appointed  Librarian  to  the  King — an  office  which  he  held  until  his 
death  in  1 698.  The  manuscript  of  the  '  Commentaires '  was  probably  pur-' 
chased  at  the  sale  of  his  library  by  Robert  Harley,  Earl  of  Oxford.  The 
Lord  Treasurer  of  England  ( 1 661-1 724)  found  consolation  for  the  ingrati' 
tude  of  men  in  forming  that  magnificent  collection,  which  retains  the 
name  of  the  Harleian  Collection  in  the  British  Museum. 


ICONOGRAPHY 


159 


Our  manuscript,  however,  reached  that  haven  only  with  the  second 
part  of  Robert  Harley's  books  and  manuscripts,  in  1754. 

Second  VolumeJ- — The  first  miniature  represents  Franfois  I  on  horses 
back,  in  hunting  costume,  wearing  the  chapeau  with  plumes.  The  King 
is  urging  his  horse  to  the  right.  Above  his  head  a  crowned  F  in  gold  stands 
out  against  the  blue  background  of  a  shield.  This  was  a  device  for  dis^ 
closing  his  identity  to  those  who  were  not  struck  by  the  likeness.  In  the 
middle  distance  is  a  huntsman,  galloping  in  the  same  direction  as  the 
King  and  blowing  his  horn.  Over  his  head  floats  a  banderole,  bearing 
the  name  '  Perot.'  ^  On  a  stone  between  the  legs  of  the  King's  horse  is 
the  initial  letter  of  the  artist's  name;  and  beneath,  in  a  frame  (separated, 
however,  by  a  running  dog),  the  date  15 19.  The  border  is  of  the  utmost 
grace  of  design,  and  leaves  room  for  a  few  words  of  the  text,  which  begins 
thus: — 

'  Fran^oys,  by  the  grace  of  God  King  of  France,  desiring  to  exercise 
his  lusty  youth  by  violent  labour,  early  in  the  month  of  August  in  the 
year  one  thousand  five  hundred  nineteen,  went  forth  to  course  the  stag 
in  the  forest  of  Byevre,  and  gave  order  that  on  that  day  those  dogs  should 
course  which  he  had  chosen  to  lead  the  pack,  because  they  are  surer 
than  the  others.  GaiUart  was  of  the  number,  as  was  Gallehault,  and  pretty 
Rameau.  Arbault,  Gerfault,  and  Billehault  went  in  their  company. 

'  The  King  was  following  the  stag  very  close  and  was  riding  at  full 
speed  when  he  fell  in  with  the  chaste  Diana.  The  King  was  overcome 
with  joy,  and  having  forgotten  his  quarry,  he  was  all  amazed  that  the 
vision  vanished  and  he  remained  all  alone  in  deepest  thought.  But  soon 
after  he  saw  beside  him  an  ancient  man  of  venerable  aspect.  He  knew 
upon  hearing  him  speak  that  it  was  his  friend  Julius  Cassar,  whom  he 

1 .  Bibliotheque  Nationale. 

2.  This  Perot  was  a  favourite  huntsman  of  whom  Francois  I  speaks  in  one  of  his  letters  to 
the  Connetable  de  Montmorency:  '  I  am  obliged  to  confess  that  we  lost  the  stag,  and  Perot  has 
buried  himself ;  he  dares  not  show  himself  in  my  presence.'  M.  Genin,  who  published  this 
letter  among  the  pieces  justijicatwes  of  his  edition  of  the  Lettres  de  la  Rei?ie  de  Navarre  (  8vo, 
Paris,  1841 ;  p.  468),  says  in  a  note  to  the  name  Perot  that  he  was  a  dog.  I  should  probably 
have  made  the  same  mistake,  had  I  not,  even  before  I  saw  this  miniature,  made  the  acquaintance 
of  the  huntsman  in  question  upon  reading  the  accounts  of  the  expenditure  of  Francois  I,  the 
lists  of  his  household,  and  the  rolls  of  receipts  given  to  his  treasurer.  I  find,  for  example,  under 
date  of  July  12,  153  i :  '  Due  to  Perot  de  Ruthie,  in  payment  of  such  emoluments  and  privi- 
leges as  he  has  by  virtue  of  his  office  of  keeper  of  the  park  and  castle  of  Saincte  Jame,  and  of 
the  forests  and  four  ponds  of  Raiz.'  Five  years  later,  I  find  this  entry:  '  To  Perot  de  Ruthie,  to 
be  used  for  the  necessary  expenses  of  sending  for  and  causing  to  be  brought  to  him  a  part  of  the 
dogs,  with  their  whippers-in,  from  his  kennels  in  the  forest  of  Chenonces.'  (Roll  of  Receipts 
for  1536).  Still  later,  he  became  lieutenant  of  venery  and  gentleman  of  the  chamber.  He  was 
one  of  those  favoured  retainers  who  know  how  to  make  their  way. 


i6o 


GEOFROY  TORY 


had  met  in  like  manner,  only  three  months  before,  in  his  park  at  Sainte/ 
Germain/en/Laye.'  • 

Thereupon  they  enter  into  conversation  upon  Cesar's  campaigns. 

Godefroy's  plates,  almost  all  of  which  are  signed  with  a  G  and  dated 
15 1 9,  are  on  these  leaves:  2  verso,  3  verso,  4  verso,  5  verso,  7  verso,  9  verso, 
20  recto,  22  verso,  28  recto,  33  verso,  34  verso,  36  verso,  37  verso,  43  recto, 
46  verso,  48  verso,  59  verso,  62  verso,  78  verso,  90  recto. 

The  medallions,  which  are  copied  from  the  antique,  are  admirably 
executed  in  gold  on  a  blue  ground,  the  models  being  delicately  outlined 
in  sepia.  They  are  on  leaves  6  verso,  8  recto,  9  verso,  10  verso,  1 1  recto  and 
verso,  12  recto  and  verso,  13  recto  and  verso. 

Warlike  machines,  copied  from  other  drawings,  and  consequently 
lacking  the  life  imparted  by  the  representation  of  real  objects,  fill  leaves 
39  recto  and  verso,  40  recto  and  verso,  41  recto,  91  recto  and  verso,  92 
recto  and  verso,  93  recto  and  verso,  94  recto. 

Lastly,  the  portraits  may  be  found  on  the  leaves  which  I  am  now 
about  to  enumerate.  I  will  add  nothing  to  what  I  have  said  of  their  per' 
fection,  generally  speaking,  reserving  my  comments  for  the  points  of 
interest  suggested  by  the  manuscript  itself.  These  portraits,  as  one  might 
have  anticipated,  and  as  is  proved  by  leaf  52  most  directly,  are  copies  of 
originals  which  antedate  the  manuscript.  They  are  painted  in  miniature, 
surrounded  by  three  circles  of  black  and  gold ;  the  whole  medallion  is 
fifty-'two  millimeters  in  diameter,  the  miniature  forty. 

Leaf  25  verso:  Quintus  Pedius.  Such  is  the  title  given  by  the  scribe; 
but  a  different  hand  has  written  in  the  margin,  in  cursive  characters: 
*Le  grand  maistre  de  Boissy,  aged  41  years.'  I  am  inclined  to  see  in  these 
marginal  annotations  the  hand  of  the  author  rather  than  that  of  the 
artist.  This  portrait  is  three-quarters  full,  turned  to  the  left,  with  a  cap 
on  its  head,  the  hair  in  a  net,  a  coUar  of  some  order  around  the  neck,  face 
tranquil,  expression  shrewd. 

Leaf  35  recto:  Le  Fiable  Divitiacus  Dautun.  ('Admiral de  Boissy,  seig- 
neur de  Bonivet,aged  34  years.')  Three-quarters  full,  turned  to  the  right. 

Leaf  36:  Quintus Titurius  Sabinus.  ('Odetde  Foues,Sieurde  Lautrec, 
aged  41  years.')  Three-quarters  full,  turned  to  the  left. 

Leaf  42 :  Iccius.  ('  Le  mareschal  de  Chabanes,  seigneur  de  la  Palice,  aged 
57  years.')  Three-quarters  full,  turned  to  the  left,  expression  slightly 
haughty. 

Leaf  52:  Lucius  Aruculeius  Cotta.  ('Anne  de  Montmorency,  aged  22 
years,  afterwards  connestable  de  France.') 


ICONOGRAPHY 


i6i 


Leaf  73 :  Publius  Sextius  Baculus.  ('  Le  mareschal  de  Fleuranges,  son 
of  Robert  de  la  Marche,  first  seigneur  de  Sedan,  aged  24  years.')  Threes 
quarters  full,  turned  to  the  left. 

Leaf  76  verso :  Publius  Crassus.  ('  Le  sieur  de  Tournon  who  was  killed 
at  the  battle  of  Pavia,  aged  36  years.')  Three-'quarters  full,  turned  to  the  left. 

On  the  verso  of  leaf  89  we  find  these  words:  'Thus  Cassar  made  an 
end  of  speaking  and  forthwith  disappeared.  The  radiant  Diana,  who 
knew  the  paths  of  the  forest  of  Bievre,  and  of  all  time  was  privy  to  and 
understood  the  laws  of  the  chase,  remounted,  and  by  so  straight  a  course 
led  the  King,  who  had  lost  the  dogs,  that  within  a  few  hours,  near  the 
forest  of  Fontainebleau,  he  saw  them  hunting  better  than  before.  And 
he  was  the  first  of  all  at  the  death  of  the  stag,  but  he  had  with  him  only 
pretty  Arbault  and  the  beautiful  Greffiere,  for  Diana  and  Aurora  had  left 
him  and  had  gone  their  ways.' 

The  two  dogs  are  represented  in  the  miniature ;  they  are  attacking 
the  stag,  while  the  King  makes  ready  to  stab  him. 

This  volume,  containing  98  leaves,  is  bound  in  black  morocco,  which 
has  grown  rusty;  it  bears  these  words  stamped  in  the  leather:  'Tomus 
Secundus.'  It  is  catalogued  in  the  Supplement  Fran^ais,  as  no.  1328.  Its 
history,  as  told  among  the  habitues  of  the  Bibliotheque  Nationale,  is  as 
follows :  M.  Van^Praet  appeared  at  the  Conservatoire  one  day  with  an 
exultant  air;  he  had  this  fascinating  manuscript  in  his  hand,  and  an^ 
nounced  that  he  had  purchased  it  for  the  Bibliotheque  for  1200  francs. 
He  expected  to  gladden  the  hearts  of  his  comrades,  to  call  forth  express 
sions  of  gratitude;  far  fi"om  it;  on  the  contrary,  they  found  fault  both 
with  that  method  of  purchasing,  without  authority,  and  with  the  price 
that  he  had  paid.  M.  Van^Praet  made  haste  to  banish  the  scruples  of  his 
inflexible  directors,  and  to  put  an  end  to  the  unpleasant  discussion  that 
was  beginning,  by  declaring  that  the  purchase  had  been  made  for  himself 
and  not  for  the  Bibliotheque;  then,  when  the  meeting  was  adjourned,  he 
hastened  to  his  friends  the  brothers  Debure,  and,  with  a  bursting  heart, 
told  them  of  his  misadventure.  They  appreciated  Van^Praet's  regrets  too 
thoroughly  to  try  to  calm  them;  but  they  knew  also  that  he  was  not  rich 
enough  to  keep  the  manuscript,  and  they  bought  for  their  own  little  col^ 
lection,  at  the  price  that  he  had  paid,  that  charming  product  of  French 
art,  still  bleeding  from  the  reception  that  it  had  met  with  at  the  hands  of 
the  great  so-'called  'national'  collection.  Years  and  years  had  passed  since 
this  strange  performance,  when,  in  1852,  a  small  package  was  brought  to 
M.  Naudet,  with  the  information  that  M.  Debure,  by  his  last  will,  had 


l62 


GEOFROY  TORY 


ordered  that  this  manuscript,  embellished  with  paintings  by  Godefroy, 
which  had  been  purchased  for  the  Bibliotheque  and  spurned  by  it,  should 
be  restored  to  it  as  its  property. 

One  does  not  know  which  to  admire  more  in  this  testamentary  dis/ 
position  of  the  famous  bookseller  —  the  keenness  of  his  irony  or  the  no^ 
bility  of  his  act.  Without  exerting  itself  overmuch  to  decide  that  point 
the  Conservatoire  of  the  Bibliotheque  Imperiale  welcomed  the  prodigal 
child  and  deposited  it  in  the  Supplement  Fran9ais.  But,  with  a  linger^ 
ing  remnant  of  spite,  its  light  was  hidden  under  the  bushel  of '  la  reserve ' ; 
which  is  one  way  of  preventing  people  from  having  access  to  it  with  the 
facility  which  assists  investigations,  under  the  protection  of  that  liberality 
which  is  one  of  our  claims  to  honour  among  foreign  nations,  and  which 
the  government  of  the  Bibliotheque  should  have  preserved,  even  at  the 
price  of  the  inconvenience  that  it  might  have  caused. 

Third  Volume."- — Original  binding,  with  the  title:  'Cssaris  liber  ter/ 
tius.*  The  text  begins  thus:  — 

«On  the  twenty  ^seventh  day  of  February,  one  thousand  five  hundred 
XX,  the  King  being  in  his  park  of  Congnac,  seeing  that  the  splendour  of 
his  entry  was  like  to  be  marred  by  the  inclemency  of  the  weather,  took 
shelter  in  the  house  of  the  labyrinth,  having  with  him  monsieur  I'Admiral 
and  the  young  and  discreet  Sieur  de  la  Rochepot.  At  the  entrance  to  the 
lower  room  he  feels  and  hears  so  violent  a  wind  that  it  seems  to  him 
"  quam  spiritu  vehementi "  the  lofty  trees  fall  to  the  earth  as  on  Friday  the 
ninth  day  of  March  one  thousand  V^^xx  in  divers  places  about  Paris.' 

The  result  of  all  this  uproar  is  the  appearance  of  Julius  Caesar.  Frangois 
I  questions  him  as  to  what  he  did  after  pacifying  Gaul.  Whereupon  C^sar 
replies :  — 

'  I  tell  you  that,  after  divers  victories  won  by  me,  so  high  an  opinion 
of  me  and  so  great  renown  were  spread  among  the  barbarian  peoples, 
that  ambassadors  were  sent  to  me  by  the  nations  beyond  the  Rhine,  who 
in  the  name  of  their  cities  promised  to  give  hostages  to  me  and  to  obey 
my  commands.  But,  for  that  I  was  in  haste  to  go  thence,  I  bade  them 
return  to  me  in  the  summer  season.  Thereafter  I  led  my  legions  to  winter 
quarters  in  the  land  of  Touraine  and  in  the  duchy  of  Madame  your 
mother.  And  that  done,  I  went  hence  to  Italy.' 

This  volume  is  supplied  with  two  maps :  one,  of  Aquitaine,  is  at  the 
beginning,  the  other,  of  Bretagne,  at  the  end  of  the  volume,  which  con/ 

I.  Library  ofS.  A.  R.  le  Due  d'Aumalc,  at  Twickenham,  near  London. 


ICONOGRAPHY  163 

tains  also  no  less  than  twelve  large  miniatures.  The  King,  in  hunting  cos/ 
tume,  figures  again  and  again  in  them.  The  execution  is  as  careful,  and 
the  paintings  of  the  same  type,  as  in  the  two  earlier  volumes.  All  the  min-' 
iatures  and  the  maps  are  signed  with  a  G,  and  some  of  them  are  dated 
1520.  On  folio  52,  the  painter's  name  is  written  in  full:  'Godefroy.' 

The  former  owner  of  this  fine  manuscript  writes  to  me :  '  I  cannot 
furnish  you  with  any  interesting  information  concerning  the  manuscript 
of  the  "  Commentaires  de  Cesar."  It  was  given  to  me,  only  the  slightest 
importance  being  attached  to  the  gift,  by  a  resident  of  Tours,  who  owned 
no  books,  and  who  had  kept  it  for  forty  years  in  his  closet.  To  tell  you 
how  it  came  into  my  hands  would  be  the  more  difficult  because  that 
person  has  long  been  dead.  The  volume  was  delivered  to  me  in  very  bad 
condition.  I  employed  Duru  to  repair  the  back  and  to  rebind  it,  leaving 
intact  the  covers,  which  were  of  the  original  sixteenth^century  binding. 
A  small  engraving,  which  resembled  niello^work,  but  was  recognized  as 
the  work  of  Etienne  de  Laulne,  an  engraver  of  Orleans,  was  at  the  begins 
ning  of  the  book.' 

Obliged,  in  1850,  by  circumstances  which  it  is  needless  to  detail,  al^ 
though  they  were  to  his  honour,  to  part  with  this  precious  volume,  its 
owner  sent  it  to  Paris,  to  M.  Techener,  for  sale  on  commission.  He 
wanted  2000  francs  for  it,  and  first  of  all  the  bookseller  offered  it  to  the 
Bibliotheque  Nationale.  The  Conservatoire  of  that  great  collection  could 
not  find  that  amount  in  its  annual  credit  of  80,000  francs,  and  it  renewed 
the  old  joke  which  had  temporarily  banished  the  second  volume.  Unfor^ 
tunately  one  does  not  meet  every  day,  to  repair  its  errors,  generous  book-- 
sellers  Hke  M.  Debure,  or  those  who  have  it  in  their  power  to  be  as  generous 
as  he ;  and  M.  Techener,  who  was  richer  than  our  rich  collection  of  books 
for  the  purpose  of  purchasing  this  manuscript,  was  not  rich  enough  to 
present  it  to  that  collection.  He  advertised  it  in  the  'Bulletin  du  Biblio'' 
phile'for  1850  (no.  1222),  for  3000  francs.  During  a  whole  year,  artists  and 
curious  folk  (I  was  among  the  latter)  were  at  liberty  to  examine  it  at  leisure 
and  to  lament  the  advent  of  English  dealers  who  threatened  every  moment 
to  take  it  from  us.  At  last,  Monseigneur  le  Due  d'Aumale  added  it  to  his 
treasures  of  printed  books  and  manuscripts,  and,  although  in  England,  one 
may  say  now  that  it  belongs  to  France.  Indeed,  it  may  be  that  M.  Debure's 
example  will  be  followed  some  day,  and  that  this  third  volume  will  come 
to  join  the  second  on  the  shelves  of  our  magnificent  department  of  manu/ 
scripts,  awaiting  the  time  when  the  fortunate  result  of  negotiations  with 


i64  GEOFROY  TORY 

the  British  Museum  shall  permit  the  consummation  of  the  work  by  means 
of  exchanges." 

Godefroy's  facile  talent  could  not  fail  to  be  fruitful  of  results,  and  some 
of  his  works  may  be  found  in  several  collections.  The  Bibliotheque  de 
I'Arsenal  owns  one  of  them,  the '  Triomphes  de  Petrarque,'  which  seems, 
in  view  of  the  exuberance  of  the  subjects,  the  exaggeration  of  the  artist's 
defects,  and  the  laxness  of  execution,  to  be  of  later  date  than  the  'Com-' 
mentaires  de  Cesar ' ;  and,  whether  because  the  artist  had  visited  Italy,  or 
because,  the  better  to  interpret  the  poet's  ideas,  he  sought  inspiration  in 
Italian  works,  it  is  certain  that  he  is  less  French  in  the  illustrations  of  this 
manuscript  than  in  the  others.  He  is  more  perfect,  too,  in  the  art  of  com' 
position,  his  distances  are  more  accurately  measured,  his  groups  are  more 
in  harmony  with  one  another;  in  a  word,  he  displays  an  inspiration,  or  re 
sources,  altogether  new :  such,  for  example,  as  the  device  of  cutting  off  the 
figures  in  the  foreground  at  the  waist,  by  means  of  rising  ground,  where' 
by  he  is  able  to  give  them  strongly  proportioned  frames  without  filling  up 
his  whole  picture. 

I  will  describe  this  manuscript  briefly.  It  is  a  small  octavo  volume  of 
ten  leaves  (not  including  the  covers),  written  on  fine  parchment.  It  is 
about  I  o  centimetres  in  height  by  8  in  width.  It  was  rebound  in  the  eight' 
eenth  century,  in  lemon^colored  morocco. 

'  Here  followeth  the  first  of  the  six  triumphs  of  the  most  illustrious  and 
venerable  poet  Messire  Francisque  Petrarque :  the  which  is  the  triumph 
of  Love  and  containeth  four  chapters.' 

Chapter  I.  A  miniature  painted  on  pages  2  and  3,  which  face  each  other. 
It  represents  the  triumph  of  Love,  with  a  deal  of  disorder  and  somewhat 
licentious  details.  The  G  can  be  seen  in  the  foreground,  in  the  centre  of  the 
picture,  on  the  ground. 

Chapter  II.  The  miniature  has  been  removed. 

Chapter  III.  The  miniature  occupies  the  verso  of  the  title  of  the  chap' 
ter.  In  the  foreground  are  amorous  couples  discoursing  together,  some 
seated,  some  walking  about.  The  men  wear  caps  with  long  feathers,  as  in 
the  bas'reliefs  of  the  hotel  de  Bourgtheroude.  The  architectural  arrange-' 

1.  [The  Due  d'Aumale  (fourth  son  of  Louis  Philippe),  who  lived  in  exile  in  England  dur- 
ing the  Second  Empire,  returned  to  France  soon  after  the  fall  of  Louis  Napoleon,  and  held  a 
notable  position  in  society,  politics,  and  literature,  until  his  death  in  i  897.  By  his  will  he  left 
his  Chateau  of  Chantilly,  with  his  very  valuable  collections,  to  the  Institut  de  France,  in  trust 
for  the  French  nation.  The  translator  regrets  his  inability  to  state  definitely  the  present  where- 
abouts of  volume  L] 


ICONOGRAPHY  165 

ment  in  the  background  is  charming.  Beside  a  triumphal  arch  rises  the 
tower  of  love.  Flames  are  darting  from  all  its  windows,  and  meanwhile  a 
long  procession  of  women  rushes  through  the  door,  followed  by  a  Cupid 
with  bandaged  eyes.  The  artist  has  painted  his  initial  on  the  tower. 

Chapter  IV.  In  this  miniature,  Petrarch's  face,  twice  repeated,  seems 
to  be  a  reproduction  of  an  original  portrait.  The  G  can  just  be  distin^ 
guished  on  a  rock  in  the  foreground ;  it  has  been  effaced. 

*  Here  followeth  the  second  triumph  of  MessireFrancisquePetrarque, 
the  which  is  the  triumph  of  Chastity.' 

The  miniature  occupies  two  facing  pages,  but  it  forms  two  distinct 
pictures.  The  buildings  in  the  background  are  arranged  in  a  quasi-'ltaP 
ian  style,  but  are  not  a  reproduction  of  any  known  structure.  Godefroy 
has  placed  his  G  on  a  tree,  at  the  left,  accompanied  by  three  lizards  —  a 
detail  which  should  not  be  passed  over,  for  it  is  repeated  several  times,  as  if 
the  name  of  those  creatures  bore  some  relation  to  that  of  the  artist. 

'  Triumph  of  Death,  the  which  is  the  third  triumph  of  Petrarque.' 

[Chapter  I.]  This  miniature  is  one  of  the  most  interesting  and  best  pre^ 
served.  Death,  grasping  his  scythe,  stands  over  the  body  of  a  young  woman 
lying  dead  on  the  triumphal  chariot.  It  is,  in  fact,  the  Italian  triumph,  as 
we  have  it  represented  in  so  many  works.  In  this  case  the  miniature  is  in 
duplicate,  as  well  as  the  painting.  The  G  is  at  the  bottom. 

Chapter  II.  Miniature  on  a  single  page :  the  death  of  Laura.  The  young 
woman  is  lying  on  the  bed  of  death.  She  is  surrounded  by  her  friends,  with 
palms  in  their  hands.  Above,  in  the  sky,  is  seen  the  form  of  the  Virgin.  It 
is  a  very  pleasing  composition,  nearly  filling  the  frame,  and  the  effect  is 
charming. 

Chapter  III.  Petrarch  and  Laura  are  seated  in  the  shade  of  tail  trees,  on 
the  bank  of  a  pond  in  which  two  swans  are  floating.  The  same  two  persons 
are  seen  farther  back,  twice  repeated,  and  diminishing  in  size  according 
to  the  distance.  An  architectural  structure,  decidedly  Italian  in  type,  closes 
the  view  at  the  back.  The  G  is  painted  on  a  stone  at  the  feet  of  Petrarch 
and  Laura.  Evidently  Godefroy  had  studied  several  portraits  of  the  two, 
and  he  copies  them  with  some  success  in  their  various  attitudes.  The  trees 
are  done  so  skilfially  that  one  might  well  believe  that  he  could  recognize  the 
touch  of  a  landscape  artist,  and  a  generally  happy  effect  gives  to  this  minia^ 
ture  all  the  value  of  a  painting. 

*  Here  followeth  the  fifth  triumph  of  Messire  Francisque  Petrarque, 
the  which  is  the  triumph  of  Time.' 

The  miniature  occupies  two  pages  and  includes  two  subjects.  In  one, 


i66 


GEOFROY  TORY 


Time,  represented  by  the  signs  of  the  zodiac,  and  by  the  allegorical  figures 
of  antiquity,  marks  his  progress  in  the  sky ;  mortals  undergo  his  influence 
on  the  earth.  The  artist  has  signed  his  work  at  the  right,  at  the  foot  of  the 
picture, this  time  with  his  full  name:  'Godefroy.'  In  the  other  miniature 
the  triumph  of  Time  is  represented.  He  is  passing  in  his  chariot,  drawn  by 
four  horses  at  a  gallop,  between  the  four  Seasons.  On  the  left,  at  the  foot, 
we  see  a  G  and  two  lizards. 

'  Here  foUoweth  the  sixth  and  last  triumph  of  Messire  Francisque 
Petrarque,  the  which  is  the  triumph  of  the  Deity.' 

This  title  is  followed  by  a  double  miniature.  In  one,  we  see  God  the 
Father  and  Jesus  Christ,  with  the  Holy  Spirit  soaring  above  their  heads, 
seated  on  the  globe  and  presiding  at  the  last  day.  Flames  fall  from  the  skies 
upon  mankind,  who  are  divided  into  the  good  and  the  bad ;  angels  tran' 
quilly  lead  the  former,  while  devils  brutally  pursue  the  others.  At  the  foot, 
on  the  right,  is  the  G.  On  the  other  page,  God  the  Father  and  God  the 
Son  (the  Holy  Spirit  hovering  over  them  as  before)  are  seated  in  a  trium/ 
phal  chariot  drawn  by  the  ox,  the  lion,  the  eagle,  and  the  angel,  which  are 
the  symbols  of  the  evangelists.  They  come  forward,  surrounded  by  all  the 
dignitaries  of  the  Church.  Pagan  Love,  with  bandaged  eyes,  lies  dead  on 
the  ground  near  the  chariot  wheels ;  a  long  procession  of  saints,  male  and 
female,  concealed  below  the  waist  by  an  elevation,  are  following  the  course 
of  the  chariot  in  the  foreground.  This  arrangement  made  it  possible  for 
the  artist  to  make  his  figures  larger  and  to  delineate  their  features  with  care. 
The  G  is  at  the  foot  of  the  miniature,  on  the  ground. 

All  these  miniatures,  painted  in  grisaille,  with  blue  skies  and  water, 
and  with  some  few  details  in  colour,  are  86  millimetres  high  and  68  wide. 

Comte  Leon  de  Laborde. 

3 

In  the  catalogue  of  the  library  of  M.  Firmin  Didot  pere,  sold  in  i8i  i, 
is  the  following  description  of  a  magnificent  manuscript : '  — 

*  The  first  three  books  of  Diodorus  Siculus,  translated  fi-om  Latin  into 
French  by  Antoine  Macault.  Small  folio,  in  blue  morocco,  with  dentelles, 
lave,  regie,  bound  with  the  arms  of  Fran9ois  I,  whose  cipher  it  bears  on 
the  back  and  on  the  cover. 

'  A  superb  manuscript  on  vellum,  presented  to  Fran9ois  I,  containing 
1 73  leaves,  30  lines  to  the  page.  It  is  illustrated  with  miniatures  and  with 

I.  Octavo,  1810;  p.  124,  no.  880. 


ICONOGRAPHY  167 

a  large  number  of  initial  letters  painted  with  the  utmost  care.  The  first 
miniature  represents  Francois  I  surrounded  by  the  nobles  and  scholars  of 
his  court ;  it  is  10  inches  high  and  63^  wide.  This  painting,  of  the  most  fin/ 
ished  workmanship,  has  the  additional  merit  of  presenting  the  features  of 
several  great  men  of  that  time.  All  the  pages  on  which  chapters  begin 
are  set  in  fillets  of  gold  and  ultramarine.  The  initials  are  19  lines  high  and 
12  wide.  More  than  fifty  of  these  initials  represent  the  principal  subjects 
of  their  respective  chapters.  The  third  book  is  especially  noteworthy,  for, 
beginning  with  page  130,  there  is  a  series  of  small  miniatures,  admirable 
in  execution  and  of  the  greatest  exactness  in  respect  of  forms. 

'  This  manuscript  has  the  advantage  of  being  in  a  most  excellent  state 
of  preservation.' 

It  was  sold  to  M.  Brunet,  author  of  the  'Manuel  du  Libraire,'  for  1476 
francs  (not  including  the  usual  expenses) ;  he  bought  for  William  Beck^ 
ford,  Esq., of  Fonthill  Abbey  in  the  County  of  Wilts,  of  which  Salisbury  is 
the  shire  town.  The  author  of  the  'Repertorium  Bibliographicum,' printed 
at  London  in  1819,  informs  us  that  Macault's  manuscript  was  at  that  time 
in  the  library  of  that  distinguished  collector,  which  is  described  on  pages 
203  to  230  of  the  'Repertorium." 

The  description  of  the  manuscript  is  as  follows :  — 

DiODORE.  —  LeS  TROIS  PREMIERS  LIVRES  DE  DiODORE  SiCILIEN,  HISTORY 
lOGRAPHE  GREG  DES  ANTIQUITEZ  dEgIPTE,  EtHIOPIE  ET  AUTRES  PAYS 
dAsIE  ET  dAfFRIQUE.  TrANSLATEZ  DE  LATIN  EN  FRANCGYS  PAR 
MAISTRE  AnTHOINE  MaCAULT,  NOTAIRE,  SECRETAIRE  ET  VALET  DE 
CHAMBRE  ORDINAIRE  DU  ROY. 

'Folio,  ms.  on  vellum,  in  the  original  binding;  the  sides  strewn  with 
fleurs/de^is  and  the  initial  letter  F.  On  one  side,  in  a  square  compartment, 
in  gold  letters:  Diodore  Sicilien.  On  the  opposite  side:  Av  roy  fran' 

COYS  PREMIER. 

'  This  fine  manuscript,  formerly  in  the  possession  of  Francis  the  First,  ap' 
pears  to  have  been  executed  by  his  express  command.  Prefixed  to  the  his-' 
tory  is  a  painting  of  the  King  seated  under  a  canopy  powdered  with  fleurs/ 
de^lis,  surrounded  by  his  courtiers :  his  three  sons,  the  Dauphin  Francis, 
Henry,  afterwards  Henry  II,  and  Charles,  Duke  of  Orleans,  dressed  in  rich 
habits,  appear  in  the  foreground.  The  King  seems  to  direct  his  attention 
to  a  person  reading,  dressed  as  an  ecclesiastic,  probably  the  translator  of  the 

1 .  According  to  information  supplied  to  me  from  England,  it  would  seem  that  this  fine  manu- 
script is  to-day  [1865]  in  the  library  of  the  Duke  of  Hamilton  (Hamilton  House,  22  Arling- 
ton St.,  Piccadilly,  London). 


i68 


GEOFROY  TORY 


History.  A  beautiful  greyhound  on  the  floor,  and  a  marmoset,  sitting  on 
the  table,  near  the  King's  left  hand,  are  prominent  figures  in  the  groupe 
[sic].  In  addition  to  this  exquisite  illumination,  the  volume  is  enriched  with 
numerous  large  initial  letters,  painted  with  peculiar  delicacy,  representing 
occurrences  described  in  the  book,  manners  of  various  nations,  and  portraits 
of  their  early  emperors  and  kings.' ' 

This  description  is  accompanied  by  an  engraving  on  copper  of  the 
figure  of  Francois  I,  afiier  the  Macault  MS.  The  King  is  depicted  fiill  face, 
seated  before  a  table  on  which,  near  his  left:  hand,  is  a  monkey.  The  back/ 
ground  is  a  tapestry  covered  with  fleurs^de4is.  This  engraving  is  dated  July 
I,  1 817,  and  is  the  work  of  M.  Behnes.  It  differs  from  the  engraving  on 
wood  found  in  Macault's  printed  volume,  not  only  in  that  it  does  not  in' 
elude  the  various  persons  of  the  original  drawing,  but  also  in  the  details 
of  the  King's  costume.  I  have  every  reason  to  believe  that  the  wood  en*- 
graving  is  a  faithful  reproduction  of  the  original,  just  as  the  book  itself  is 
a  reproduction  of  the  manuscript,  except  for  the  other  drawings,  which 
were  omitted,  from  economical  motives,  no  doubt. 

Macault's  volume  is  a  quarto,  consisting  of  8  leaves  of  preface,  154  of 
text  (signatures  A  to  Q_),  and  8  of  index.  The  author's  preface  begins 
with  an  S  from  which  depends  a  shield  (probably  Macault's),  bearing  two 
fasces  accompanied  by  nine  bezants  arranged  in  threes,  and  having  for  a 
motto  the  Greek  word  mhketi  (not  at  all).  The  letter  is  repeated  on  folio 
148.  The  first  page  has  a  border  in  the  shape  of  a  portico,  like  those  in  the 
opuscula  published  by  Tory  in  1 53 1  and  described  on  pp.  202-203.  At  the 
foot  is  the  date  1 535.  On  the  verso  we  find  the  final  border  of 'Champ  fleury,' 
within  which  are  drawn,  in  the  vellum  copy  preserved  at  the  Bibliotheque 
Nationale,  the  royal  arms  of  England,  with  the  motto  diev  est  [sic]  mon 
DROicT,  below.^ 

4 

Pauli  Jovii  Novocomensis  vit^  duodecim  vicecomitum  Mediolani 
principum. 

Folio  manuscript  of  137  leaves.  Bibliotheque  Nationale. 

This  manuscript  is  enriched  with  ten  portraits  of  dukes  of  Milan, 
painted  from  originals,  of  each  of  which  Paulusjovius  gives  the  abiding^ 
place. 

1.  [This  description  is  copied  verbatim  from  the  Reper  tor  turn,  by  M.  Bernard;  the  Eng- 
lish is  evidently  a  translation  ofsome  French  original.] 

2.  See  the  following  section,  under  the  date  of  1535  (infra,  p.  205). 


ICONOGRAPHY  169 

1.  Otho  archiepiscopus. 

2.  Matthasus  magnus. 

3.  Galeacius  [Galeazzo]  primus. 

4.  Actius. 

5.  Luchinus. 

6.  Joannes  archiepiscopus. 

7.  Galeacius  secundus. 

8.  Barnabas. 

9.  Jo.  Galeacius  [Gian  Galeazzo]  primus. 
10.  Philippus. 

The  dedicatory  epistle  of  this  book,  which  was  at  first  intended  to  be 
addressed  toFran9ois's  third  son,  Charles  de  Valois.as  the  author  informs 
us,  was  addressed  to  the  Dauphin,  Henri,  afterwards  Henri  II,  who  suc^ 
ceeded  to  the  rights  of  his  elder  brother,  deceased  in  1536,  and  of  his 
younger  brother,  who  died  in  1545.  It  is  dated  at  Rome,  the  4th  of  the 
Kalends  of  April  (March  29),  1547. 

It  is  not  certain  that  Tory  did  any  work  on  this  manuscript,  but  I 
mention  it  because  of  the  engravings  of  the  portraits,  which  appeared  in 
the  edition  published  in  1549.' 

5 

Recueil  des  Rois  de  France,  leurs  couronne  et  maison,  etc.,  by 

Jean  du  TiUet,  register  in  chief  of  the  Parliament  of  Paris. 

Large  folio  manuscript  on  vellum;  Bibliotheque  Nationale.  It  is  the 
original  manuscript  given  to  Charles  IX,  to  whom  it  is  dedicated.  It  is 
bound  in  red  morocco,  with  that  prince's  arms.^ 

This  manuscript  is  embellished  with  a  large  number  of  miniatures  and 
with  thirty  fulUength  portraits  of  kings  of  France,  very  carefully  exe^ 
cuted,  which  remind  one  of  the  portraits  accompanying  the  manuscript 
of  the  'Commentaires  de  Cesar.'  We  also  find  there  the  escutcheons  of  the 
principal  officers  of  the  crown. 

Here  is  the  list  of  the  kings  represented :  each  portrait  occupies  a  full 
page. 

1.  Clovis.  4.  Chilperic  and  Fredegonde. 

2.  Clotaire  I.  5.  Clotaire  III. 

3.  Sigebert.  6.  Charlemagne. 

1.  See  the  following  section,  under  the  date  of  i  549  (infra,  p.  234). 

2.  See  what  is  said  of  this  MS.  in  Le  Prince's  Essai  historique  sur  la  Bibliotheque  du  Roi, 
edit.  1856,  pp.  28  and  47. 


170 


GEOFROY  TORY 


7.  Louis  le  Debonnaire.  19.  Philippe  le  Bel. 

8.  Charles  le  Chauve.  20.  Louis  le  Hutin. 

9.  Charles  le  Simple.  21.  Philippe  le  Long. 
ID.  Raoul.  22.  Charles  le  Bel. 

1 1.  Louis  d'Outre  Mer.  23.  Philippe  de  Valois. 

12.  Lothaire.  24.  Jean. 

13.  Philippe  1.  25.  Charles  V. 

14.  Louis  le  Gros.  26.  Charles  VI. 

15.  Louis  le  Jeune.  27.  Louis  XI. 

16.  Philippe^Auguste.  28.  Charles  VIII. 

1 7.  Louis,  pere  de  Saint-Louis.  29.  Louis  XII. 

18.  Saint-Louis.  30.  Francois  I. 

As  we  see,  the  book  was  originally  intended  to  stop  with  Fran9ois  I ; 
but  as  circumstances  prevented  the  author  from  printing  it  thus,  du  TH" 
let  included  the  reigns  of  Henri  II,  Franyois  II,  and  Charles  IX,  who  suo- 
ceeded  one  another  at  brief  intervals.  The  work  was  still  unpublished 
when  the  author  died,  in  1570 ;  it  would  seem,  however,  that  he  had  long 
been  preparing  to  print,  since  we  find  in  the  edition  of  1580  engravings 
signed  with  the  Lorraine  cross.' 

6 

In  'Les  Recreations  historiques,'  by  Dreux  Duradier,  on  page  102  of 
volume  one,  we  read : 

'  In  the  manuscript  of  the  late  M.  Lancelot,  written,  it  is  said,  by  the 
hand  of  G.  Tory,  with  the  date  of  1546,  is  found  this  ballad  in  honour  of 
the  Virgin: — 

' "  Balade  de  Lyon  Jamet  sur  la  Vierge : 
Qui  me  crea  je  I'ai  congu,"  etc' 
I  have  vainly  sought  this  manuscript  among  all  those  of  Lancelot  owned 
by  the  Bibliotheque,  of  which  there  is  a  special  catalogue;  but  I  have  been 
unable  to  find  it. 

7 

In  order  to  omit  nothing,  I  will  also  mention  here  another  valuable 
manuscript  of  the  Bibliotheque  Nationale,  on  one  of  the  miniatures  of 

1.  See  what  I  have  to  say  later  on  this  subject  under  the  heading  '  Engravings  of  Uncertain 
Date'  (infra,  p.  255). —  According  to  M.  '^rwntx.  {Mafiuel  de  Libraire,  5th  edit. ,  vol.  ii,  col. 
929),  the  first  edition  of  this  book  was  published  at  Rouen  in  i  577,  under  this  title  :  Memoires 
et  recherches  touchant plusieurs  choses  m  'emorables  pour  r intelligence  de  I'estat  et  dcs  affaires  de 
France.  But  I  find  it  difficult  to  credit  the  accuracy  of  this  statement,  as  the  edition  of  i  580 
prints  a  license  dated  no  earlier  than  August  10,  i  578, 


ICONOGRAPHY  171 

which  is  a  G,  followed  by  a  small  t  or  f,  which  may  fairly  be  attributed 
to  Geofroy  Tory.  It  is  a  translation  of  Livy,  in  two  large  folio  volumes, 
on  vellum,  acquired  from  the  Bibliotheque  de  la  Sorbonne,  and  enriched 
with  magnificent  engravings,  attributed  to  Jean  Fouquet,  which,  how^ 
ever,  cannot  be  his,  for  the  book  has,  on  the  first  page,  the  arms  of  Fraip 
9ois  de  Rochechouart  and  Blanche  d'Aumont,  who  were  married  about 
1480  and  died,  both,  in  1530.  Evidently  it  was  not  in  the  early  years  of 
their  marriage  that  the  book  was  written ;  and,  as  it  must  have  occupied 
several  years,  and,  in  fact,  was  never  finished,  there  is  nothing  extraordi^ 
nary  in  the  idea  that  Tory  may  have  executed  some  of  the  miniatures 
about  1520.  Furthermore,  in  order  to  place  the  reader  in  a  position  to 
judge  for  himself,  I  will  add  that  the  cipher  mentioned  above  is  painted 
on  the  leg  of  the  figures  in  the  miniature  on  page  1 23  of  volume  one.' 

1.  I  am  indebted  for  this  information  to  M.  Vallet  de  Viriville,  who  is  devoting  himself  to 
loolcing  up  the  works  of  Jean  Fouquet,  as  I  myself  am  looking  up  Tory's. 


SECTION  II.  PRINTED  BOOKS  ILLUSTRATED  WITH 


ENGRAVINGS  BY  TORY  OR  HIS  PUPILS. 
1515 

There  appeared  for  the  first  time,  in  the  books  of  Hours  published  by 
Simon  Vostre  about  15 15,  three  engravings  which  are  clearly  distinguish' 
able  in  method  of  execution  from  those  previously  used  by  the  same  book./ 
seller,  to  which  the  three  new  ones  were  thereafter  added. 

Thenceforth  Vostre's  Hours  contained  three  varieties  of  engraving: 
(i)  The  old  gothic  woodcuts  (among  which  must  be  reckoned  the  Dance 
of  Death  with  dotted  background),  which  figure  in  the  editions  issued 
by  that  bookseller  even  in  the  fifteenth  century;  (2)  Two  large  drawings 
in  the  Renaissance  style,  which  appear  in  his  editions  of  1507  and  which 
may  be  attributed  to  Jean  Perreal,  Tory's  teacher;  (3)  The  three  in  ques' 
tion,  which  do  not  appear  earlier  than  i5i4ori5i5.  These  engravings  are : 
(i)  The  Adoration  of  the  Shepherds,  signed  with  the  letter  G  in  a  gothic 
shield;  (11)  The  Adoration  of  the  Magi;  (iii)  The  Circumcision;  the  last 
two  signed  with  this  monogram :  The  G  is  still  inclined  to  the  gothic, 
but  the  second  letter  is  altogether  roman.  In  my  judgement,  this  monogram 
should  be  translated  by  the  words,  'Godofredus  faciebat,'  or '  fecit.'  It  is  true 
that  the  ascription  of  these  engravings  to  Tory  has  been  contested ;  but 
Jules  Renouvier,  whose  taste  was  so  unerring,  and  who  cannot  be  accused 
of  infatuation  for  Tory,  did  not  hesitate  to  adopt  my  hypothesis. '  In  the  last 
of  Vostre's  Hours,'  he  says,  in  the  pamphlet  that  he  published  concerning 
that  bookseller, '  we  see,  besides  the  plates  executed  in  the  old  French  man^ 
ner,  which  have  not  disappeared  as  yet,  other  plates  in  the  Italian  and  Ger-- 
man  manners,  subjects  treated  in  an  altogether  novel  style :  the  Adoration 
of  the  Shepherds,  the  Adoration  of  the  Kings,  and  the  Circumcision,  are 
composed  of  small  figures  in  a  large  ground ;  the  design  has  recovered  all 
its  delicacy,  in  its  clearly  drawn  forms,  and  the  cutting  is  done  with  no  less 
diversity  than  care.  Here,  luckily,' continues  Renouvier,  'a  monogram  en^ 
ables  us  to  attribute  the  engravings  to  their  author.  It  is  a  G  alone,  or  en^ 
closing  an  f,  subscribed  on  a  shield  or  in  a  cartouche  hanging  fi-om  a  branch. 


ICONOGRAPHY  173 

They  have  been  claimed  for  Geofroy  Tory,  and  with  good  reason,  for  the 
manner  in  which  these  plates  are  executed  accords  with  what  we  know 
of  that  excellent  artist.' 

It  is,  perhaps,  to  these  engravings,  so  successfully  executed,  that  we 
should  ascribe  the  partiality  that  Tory  afterwards  displayed  for  books  of 
Hours,  of  which,  as  we  have  seen,  he  put  forth  several  editions,  in  diverse 
formats,  and  with  a  large  number  of  engravings  on  wood  done  by  himself. 

1516-1518 

Here  is  to  be  placed  Tory's  second  journey  to  Rome,'  from  which  he 
returned  more  Italian  than  ever,  in  respect  to  art. 

1519-1520 

Under  this  date,  which  was  when  Tory  was  working  at  the  manu** 
scripts  I  have  described  above,  I  shall  place,  albeit  somewhat  conjecturally, 
two  small  engravings  on  wood,  signed  with  the  letters  G  T,  which  ap' 
pear  in  a  publication  of  M.  Varlot  entitled :  '  Illustration  de  I'ancienne 
imprimerie  troyenne '  (4to,  1850).  They  are  numbers  84  and  131,  the  first 
in  the  crible  style,  the  second  in  the  style  of  the  Renaissance.  My  ascrip/ 
tion  of  them  to  Tory  is  based  upon  the  facts  that  they  are  of  his  time,  as 
we  may  infer  from  the  one  in  the  crible  style,  and  that  the  initials  G  T 
are  entirely  consistent  with  that  period  of  the  life  of  our  artist,  who  some/ 
times  signed  his  name  in  full,  Geofroy  Tory,  as  witness  his  Hours  of  15  24. 

The  first  of  these  engravings,  number  84,  represents  a  Descent  from  the 
Cross.  The  letters  G  T  are  at  the  foot  of  the  plate,  and  are  some  distance 
apart.^  In  the  same  collection  there  is  another  engraving  of  the  same  series, 
but  not  signed —  number  78.  It  represents  a  bishop  blessing  a  sick  man  who 
lies  entirely  nude  before  him.  These  twoare  48  millimetres  wide  by  62  high. 

Number  131  represents  a  scene  fi"om  Terence.  The  letters  G  T  are  side 
by  side  at  the  foot  of  the  plate,  which  is  33  millimetres  high  by  55  wide. 
In  the  same  collection,  numbers  132  and  133,  are  two  other  woodcuts  of 
the  same  series,  but  not  signed.  Lastly,  in  an  edition  of  iEsop,  published 
recently  at  Troyes,  by  the  printer  Baudot,  we  find  a  woodcut  which  prob' 
ably  had  the  same  origin,  and  found  its  way  into  this  volume  by  chance. 
These  four  engravings  are  evidently  fi^om  an  edition  of  Terence  in  a  small 
format;  I  have  been  unable  to  find  it. 

1.  See  Part  i.  Biography,  supra,  p.  7. 

2.  This  plate  was  reproduced  by  MM.  Alexis  Socard  and  Alexandre  Assier  in  their  work 
entitled:  Livres  liturgiques  du  diocese  de  Troyes,  8vo,  1863. 


174 


GEOFROY  TORY 


1520-  1521 

I  shall  place  under  this  date  a  title-page,  in  octavo,  forming  a  border, 
engraved  for  Simon  de  Colines,  and  bearing  his  mark  and  his  initials. 
This  printer,  who  succeeded  in  1520  Henri  Estienne,  the  first  of  the  name, 
whose  widow  he  married,  wished  to  mark  his  printings  in  some  special 
way,  and  to  that  end  applied  to  Tory,  who  was  a  friend  of  the  family. 
Tory  engraved  the  title-page  in  question,  in  the  crible  style,  then  much 
in  vogue ;  and  on  it  are  seen  rabbi  ts,  or  conils,  which  is  believed  to  be  an  all  U' 
sion  to  the  name  of  Colines.'  Tory's  mark  appears  in  white,  at  the  foot  of 
the  engraving,  to  the  right.  I  have  seen  this  engraving  in  an  Epitome  of 
the  'Adages'  of  Erasmus,  in  Latin,  printed  by  Simon  de  Colines,  in  1523, 
in  octavo,  under  this  title :  * Johannis  Brucherii  Trecensis  Adagiorum  ad 
studioszE  juventutis  utilitatemex  Erasmicis  chiHadibusexcerptorumepit/ 
ome.'  It  was  probably  Tory,  too,  who  engraved  Colines's  large  mark  with 
the  rabbits  (Silvestre,  no.  79),  which  is  in  the  same  style,  and  which  ap/ 
pears  in  the  Hours  of  1 5  2  4 ;  but  it  does  not  bear  the  double  cross.  Tory  also 
engraved  for  Colines  two  other  marks  in  a  very  different  style  (Silvestre, 
nos.  80  and  329),  and  a  multitude  of  borders  and  illustrations  for  his  books. 

Colines  certainly  employed  Tory  more  than  any  other  printer  did,  as  we 
shall  see  in  the  sequel.  This  fact  leads  me  to  believe  that  Lottin  is  mistaken 
in  bestowing  upon  Colines  the  title  of  engraver  of  letters,  attributing  to 
him  doubtless  the  engraving  of  the  graceful  italics  that  he  used  in  works 
written  in  verse ;  I  am  convinced  that  those  letters  are  the  work  of  Tory. 
I  will  call  attention,  however, to  the  fact  that  the  capitals  that  go  with  these 
italics  are  roman,  and  may  belong  to  the  roman  letters  which  Simon  de 
Colines  had  from  Henri  Estienne.  But  the  font  is  enriched  with  some 
white  two^line  letters,  of  a  charming  design,  which  are  certainly  Tory's, 
as  are  the  floriated  letters  used  by  Colines  and  his  stepson  Robert  Estienne. 

1521-  1522 

I.  Tory  engraved  also  for  Simon  de  Colines  a  magnificent  title-page 
intended  for  a  very  rare  work,  which,  for  that  reason,  I  think  that  I  ought 
to  describe  in  detail  (after  one  of  the  copies  in  the  Bibliotheque  Nationale), 
for  its  existence  has  been  doubted.^ 

The  book  is  entitled:  'Commentarii  initiatorii  in quatuor  Evangelia,* 
etc.,  with  no  author's  name  on  the  title-page;  but  it  was  written  by  Jacques 

1.  See  what  I  have  to  say  on  this  subject  in  §  iii,  under  the  word  'Colines'  (infra,  p.  268). 

2.  See  what  I  have  to  say  of  this  book  in  the  Bulletin  du  Bouquiniste,  1 860,  p.  10 1 . 


ICONOGRAPHY  175 

Lef  evre  d'Etaples,  as  we  shall  see  in  a  moment.  It  is  a  folio,  of  6  unnum^ 
bered  preliminary  leaves,  and  of  377  numbered  leaves,  making  192 
sheets,  divided  into  50  folds  of  4  sheets  each,  except  the  first,  which  has 
only  3.  The  signatures  go  from  a  to  ddd  consecutively.  The  text  of  the 
Gospels  is  set  in  large  type  (great  primer),  the  notes  in  smaller  type 
(pica),  in  which  there  are  some  very  handsome  Greek  characters,  with 
accents,  which  were  still  a  novelty  at  that  time. 

The  title  is  in  a  wide  border,  engraved  on  wood,  decorated  with  the 
symbols  ofthe  four  evangelists,  beneath  which  are  printed  passages  from 
their  works.  This  border,  which  is  signed  with  the  Lorraine  cross  at  the 
foot,  on  the  right  side,  is  .225  metre  high  by  .  166  wide. 

On  the  second  preliminary  leaf  the  author's  preface  begins,under  this 
heading:  'Jacobi  Fabri  Stapulensis  ad  Christianos  lectores  insequens 
opusPrsfatio.'  It  ends  on  the  fourth  preliminaryleaf,  with  the  date,  'Mel-' 
dis,  anno  m.  d.  xxi.'  Then  follows  a  concordance  of  the  four  Gospels,  in 
the  form  of  tablets  closed  at  top  and  bottom  by  unsigned  engravings. 

The  Gospel  according  to  St.  Matthew,  which  opens  the  book,  begins 
with  a  superb  ornamented  L,  on  a  crible  background,  .058  metre  in 
height  by .  055  in  width.  The  Gospel  according  to  St .  Mark,  which  opens 
on  leaf  115  (erroneously  printed  215),  begins  with  an  I  of  the  same  style 
and  dimensions.  The  Gospel  according  to  St.  Luke  begins  on  folio  1 75 
verso,  with  an  F  like  the  two  preceding  letters.  The  Gospel  according 
to  St.  John  begins  on  folio  259,  with  the  I  that  has  already  done  duty 
in  the  Gospel  of  St.  Mark.  These  letters,  which  are  altogether  in  the 
style  of  those  afterwards  engraved  by  Tory  for  Robert  Estienne,  seem  to 
me  to  be  fairly  attributable  to  him,  although  unsigned. 

In  the  balance  of the  book  we  find  a  large  number  of  other  letters  orna-' 
mented  in  the  crible  style,  but  of  smaller  size,  which  cannot  be  Tory's. 

On  folios  I  o  I  verso  and  102  recto  are  certain  astronomical  figures, un-* 
signed,  which  I  dare  not  attribute  to  Tory;  but  I  do  not  hesitate  to  attrib^ 
ute  to  him  a  large  engraving  on  folio  182  verso.  It  represents  Jesus  in  an 
aureole  of  flame.  Below  him  is  the  sea;  above  liimthe  Father  Everlasting, 
blessing  with  the  right  hand,  and  holding  in  his  left  hand  the  globe  sur-* 
mounted  by  a  cross.  He  is  uttering  these  words  which  we  read  in  a  scroll: 
'Hicestfiliusmeusdilectus  in  quo  mihi  bene  complacui.'  This  engrav-' 
ing,  including  its  border,  is  .210  metre  in  height  by .  137  wide. 

On  the  last  page  is  a  subscription  in  these  words:  meldis,  impensis 

SIMONIS  COLINAEI  ANNO  SALVTIS  HVMANAE  M.  D.  XXII.  MENSE  IVNIO. 

Who  printed  this  book.?  Not  Simon  de  Colines,  as  La  Caille  said,  and  as 


176  GEOFROY  TORY 

Maittaire  and  Panzer  have  repeated  after  him,  for  the  subscription  means 
simply  that  the  printing  was  done  at  his  expense.  One  can  understand,  in 
truth,  that  Simon de  Colines,  who  had  at  the  time  an  extensive  typographic 
cal  establishment  at  Paris  in  full  blast,  could  not  leave  that  city  to  print  a 
book  at  Meaux.  Nor  was  it  a  local  printer,  for  no  other  contemporary  print' 
ing  at  Meaux  is  known;  moreover,  the  mechanical  execution  of  this  vol' 
ume,  and  the  engravings  with  which  it  is  embellished,  prove  that  it  did  not 
come  from  a  wretched  provincial  workshop. 

In  my  opinion  there  is  but  one  way  of  explaining  this  typographical 
enigma.  It  is  this :  Gmllaume  Bri^onnet  (second of  the  name),  having  been 
appointed  Bishop  of  Meaux  in  1 5 1 8,  took  with  him  to  that  town  his  friend 
Lef  evre  d'Etaples,  to  whom  he  entrusted  the  administration  of  his  diocese. 
Etaples  employed  his  leisure  in  writing  various  religious  works,  among 
others  the  Commentaries  on  the  Gospels,  which  were  finished  in  152 1 .  Wish' 
ing  to  have  this  bulky  volume,  which  was  of  capital  importance  to  him, 
printed  under  his  own  eyes,  and  being  unable  to  leave  Meaux,  where  he 
was  detained  by  his  duties,  Lef  evre  simply  imported  from  Paris  a  portion 
of  Simon  de  Colines's  printing-office,  with  a  small  staff'  In  this  way  he 
could  not  only  superintend  the  printing  of  his  book,  but  also  lend  a  hand 
at  need,  after  the  example  of  many  another  scholar  of  that  time  who  did 
not  scorn  to  practise  the  printing  art. 

What  I  have  said  is  a  mere  hypothesis,  it  is  true ;  but  this  hypothesis 
is  surrounded  by  circumstances  which  give  it  a  powerful  appearance  of 
truth.  In  addition  to  what  I  have  said  above,  I  will  say  that  the  types  of 
Lef  evre  d'  Etaples'  book  are  the  same  as  those  used  in  an  octavo  printed 
at  Paris  by  Simon  de  Colines  in  1523, — a  book  which  I  have  already  cited 
and  which  I  now  have  before  me.  It  is  entitled : '  Joannis  Brucherii  Trecen' 
sis  Adagiorum  ...  ex  Erasmicis  chiliadibus  excerptorum  Epitome.'  The 
title/page  has  a  border  signed  with  the  Lorraine  cross.  More  than  that,  the 
first  ornamental  letter  in  Etaples'  book,  which  is  an  A  on  a  crible  back' 
ground,  is  also  the  first  letter  of  the  book  of  Johannes  Brucherius ;  whence 
we  see  that  the  typographical  material  sent  to  Meaux  returned  to  Paris 
immediately  after  Etaples'  book  was  printed. 

Doubtless  that  is  why  we  have  only  one  book  dated  at  Meaux  at  that 
period ;  it  might  be,  however,  that  advantage  was  taken  of  the  moment' 
ary  existence  of  this  printing-office  at  Meaux  to  set  up  some  trifling  work, 
in  152 1  or  1522 ;  but  that  would  not  in  any  wise  modify  my  conclusion. 

I .  If  necessary,  four  workmen  would  have  sufficed,  —  two  compositors  and  two  pressmen  — 
Lef  evre  d'Etaples  being  abundantly  able  to  perform  the  duties  of  corrector. 


ICONOGRAPHY  177 

II.  Tory  engraved  also,  at  about  the  same  time,  for  a  printer  at  Troyes 
named  Jean  Lecoq,  the  title-page,  in  the  shape  of  a  border,  of  a '  Gradual ' ' 
of  the  Cistercian  Order — a  very  large  and  handsome  folio,  printed  at 
Troyes  in  152 1.  This  engraving  is  in  the  crible  style,  with  the  double 
cross  in  white  at  the  foot,  on  the  right.  At  about  the  same  time  he  en^ 
graved  in  the  same  style  Jean  Lecoq's  mark,  which  appears  at  the  end  of 
the  volume,  and  of  which  a  reproduction  may  be  seen  in  M.  Silvestre's 
book,  no.  875. 

As  this  Gradual  is  very  rare  (only  one  copy  of  it  is  known  to  exist,  which 
I  have  seen  in  M.  Tross's  collection)  and  very  beautiful,  I  think  it  well  to 
describe  it.  It  is  almost  needless  to  say  that  it  is  printed  in  gothic  type. 

First  of  aU,  above  the  title  there  is  a  line  printed  in  black :  — 

Jesus    Maria  Bernard^ 

(It  is  well  known  that  St.  Bernard  was  the  founder  of  the  Cistercian  Order.) 
Then,  in  red  (I  complete  the  abbreviated  words) :  — 

'Graduale  ad  usum  Cisterciensis  ordinis:  secundum  capituli  generalis 
venerabilium  patrum  ejusdem  ordinis  diffinitionem  in  sequenti  paginas 
declarata :  noviter  per  quendam  Clarevallensem  monachum  ad  debitam 
formam  utiliter  redactum.  Et  Johannis  Lecoq  impressoris  Trecis  com/ 
morantis  solertia  diligenter  impressum.  Anno  Domini  Millesimo  quingen/ 
tesimo  vicesimo  primo.'  (Here  Lecoq's  large  mark:  Silvestre,  no.  877.) 
'Cum  privilegio.' 

The  volume  is  made  up  of  2  preliminary  leaves,  for  the  title,  etc.,  and 
252  pages  of  text,  divided  as  follows :  First  part,  without  pagination,  of  18 
signatures  {a  to  s)  of  4  sheets  each,  except  the  last,  which  has  only  2,  —  in 
all,  140  leaves.  Second  part,  folios  i  to  1 12,  having  14  signatures  (A  to  O) 
of  4  sheets — in  all,  1 12  leaves. 

The  paper  is  very  strong  and  fine.  It  is  one  of  the  earliest  books  printed 
with  music  in  France,  and  it  reflects  great  credit  on  the  presses  of  Troyes, 
and  especially  upon  Jean  Lecoq,  first  of  the  name.  Names  of  places  and 
persons  are  consistently  printed  with  capitals.  The  work  is  illustrated  with 
a  few  engravings;  but  its  most  remarkable  feature  is  the  ornamental  in<' 
itials  and  uncial  letters  with  which  it  is  embellished. 

At  the  end,  by  way  of  colophon,  are  these  words :  — 

'Explicit  Graduale  secundum  usum  ordinis  Cisterciensis,  Trecis  im-* 

I.  [An  office-book  formerly  in  use,  containing  the  antiphones  called  '  graduals,'  as  well  as 
introits  and  other  antiphones,  etc.,  of  the  mass.  Also  called  the  '  Cantatory  '  or  '  Cantatorium.* 
—  Century  Dict.] 


178  GEOFROY  TORY 

pressum  Per  Johannem  Lecoq,  Anno  Domini  Millesimo  quingentesimo 
vigesimo  primo  Die  sexta  mensis  Martii.  Laus  Deo.' 

Here  Lecoq's  mark  with  the  Lorraine  cross  in  white. 

This  volume  came  from  the  ancient  monastery  of  Ohva.near  Dantzig. 

1522 

I .  We  may  place  under  this  date  two  other  frontispieces  signed  with  the 
Lorraine  cross.  The  first  is  a  large  engraving  divided  into  four  compart' 
ments,  and  representing  armies  in  battle  array,  with  cannon.  The  two 
upper  compartments  are  connected  by  the  shield  of  France,  surmounted 
by  a  crown  and  encircled  by  the  order  of  Saint^Michel,  from  which 
branches  of  rose-bushes  depend  on  either  side.  In  each  compartment  there 
is  a  cartouche.  Tory's  mark  is  at  the  foot  of  the  lower  left-hand  com/ 
partment,  in  which  the  banner  of  France  is  seen  waving.  This  engraving 
appears  in  the 'Rozier  historial  de  France,' a  folio  printed  ingothic  type,  at 
Paris,  for  Fran9ois  Regnault,  February  10, 1522,  before  Easter;  that  is  to 
say,  1 523  new  style.  In  the  cartouches  the  following  words  are  printed  in 
red,  in  gothic  type : '  Bataille  ronde,' '  Bataille  de  pointe,' '  Bataille  de  feu,' 
'Bataille  de  fourche."  It  appears  in  another  edition  of  the  same  book, 
printed  in  1528  for  the  same  bookseller;  also,  in  a  translation  of  Caesar's 
'  Commentaries,'  printed  by  Pierre  Vidoue,  in  1 53 1 ,  for  the  booksellers  Pon^ 
cet  Le  Preux  and  Galiot  du  Pre.  This  translation  is  a  folio  volume  divided 
into  two  parts,  the  first  translated  by  Etienne  Delaigue,  called  Beauvoys, 
the  second  by  Robert  Gaguin.  The  plate  in  question  is  at  the  end  of  the 
first  part,  folio  95  verso.  The  whole  book  is  printed  in  black,  both  text  and 
engraving.  I  am  indebted  for  my  knowledge  of  the  engraving  to  M.  Robert^ 
Dumesnil  jils. 

II.  The  second  engraving,  in  the  form  of  a  border  (folio  size),  repre^ 
senting  a  number  of  grotesque  and  licentious  subjects,  appears  in  an  edi^ 
tion  of  the  *  Histoire  du  saint  Graal,'  published  by  Philippe  le  Noir,  sworn 
bookseller  and  binder  to  the  University  of  Paris,  on  October  24, 1523.  The 
bookseller's  initials  are  in  the  compartment  at  the  top  of  the  border.^ 

In  this  book,  as  well  as  in  those  last  described,  there  are  other  engrav/ 
ings ;  but  they  are  not  the  work  of  Tory,  to  whom  only  the  important 
pieces  were  assigned.  These  other  engravings  had,  doubtless,  appeared  else' 
where. 

As  for  the  engraving  executed  by  Tory  (which  reappears  in  many  other 


I .  Bibliotheque  Nationale. 


2.  Bibliotheque  de  1' Arsenal, 


ICONOGRAPHY  179 

works  printed  by  Philippe  le  Noir),  it  is  a  copy  of  a  plate  engraved  by  Urs 
Graf,  dated  15 19,  and  used  by  Pierre  Vidoue,  printer  at  Paris,'  particularly 
in  a  Virgil  of  15  29,  folio,  which  is  now  in  the  Bibliotheque  Mazarine.  The 
four  principal  subjects  of  this  engraving,  placed  at  the  four  corners  of  the 
border,  represent:  (i)  Men  lighting  torches  at  a  woman's  posterior;  (2)  A 
woman  carrying  off  a  man  in  a  basket  ^ ;  (3 )  The  death  of  Pyramus  and  This^ 
be;  (4)  The  judgement  of  Paris. 

■  1523 

While  working  for  others,  Tory  busied  himself  with  a  long  series  of 
engravings  intended  for  books  of  Hours  to  be  published  by  himself  ^ 

*  It  is  upon  turning  over  these  plates,' says  M.  Renouvier,'*  'that  one  ap^ 
predates  to  the  fuU  his  style — rich,  diversified  and  immeasurably  clever 
in  ornamentation,  distorted  out  of  proportion,  diabolic  in  the  drawing  of 
faces,  descending  too  often  to  downright  awkwardness  in  the  carriage  of 
the  head  and  to  a  habit  of  bellying  out  draperies ;  and,  finally,  overweighted 
by  a  sort  of  heaviness  in  the  forms.  The  artist's  greatest  facility  is  shown 
in  the  arrangement  of  his  figures,  and  in  the  decoration  of  his  porticoes. 
Whatever  he  may  say,  it  would  seem  that  what  he  studied  at  Rome  with 
the  best  results  were  the  baths  of  Titus  and  the  arabesques  of  Giovanni  da 
Udino.' 

1524-1525 

We  have  seen  that  Tory  had  been  in  the  habit  for  some  time  of  sign' 
ing  his  engravings  with  a  double  cross ;  but  this  had  not  yet  become  an 
invariable  signature.  For  instance,  about  1524  he  often  used  a  monogram 
in  which  his  name  and  surname  —  or,  to  use  the  terms  of  the  present 
day  his  Christian  name  \prenom\  and  his  family  name  \nom  de  famille]  — 
both  appear.  It  consists  of  a  capital  G,  enclosing  a  smaller  S,  with  the 
double  cross  above.  This  means,  in  my  opinion,  that  Tory  was  the 
engraver  only  ('Godofredus  Torinus  sculpsit'),  in  distinction  from  the 
cross  alone,  which  means  that  Tory  both  drew  and  engraved  the  pieces  on 
which  it  appears.  In  fact,  we  find  in  most  of  those  signed  with  the  mono^ 
gram  a  roughness  of  aspect  which  is  not  characteristic  of  Tory's  usual  style. 

However  that  may  be,  here  is  a  list  of  the  pieces  known  to  me  on  which 
this  monogram  appears. 

1 .  An  additional  proof  in  confirmation  of  what  I  have  already  said  as  to  the  unscrupulous 
way  in  which  artists  copied  one  another.  (See  page  149  note  i.  ) 

2 .  This  design  is  based  upon  a  legend  concerning  Virgil,  which  had  some  vogue  in  the  Middle 
Ages.  3.  See  pp.  loi  —  i 29,  supra. 

4.  Revue  universe  lie  des  Arts,  September,  1857  (vol.  v,  no.  6,  p.  513). 


m 


i8o  GEOFROY  TORY 

I.  Le  Blazon  des  heretiques. 

Quarto  of  1 4  leaves,  in  gothic  type,  printed  by  Philippe  Le  Noir, '  sworn 
binder  to  the  University  of  Paris,'  with  a  privilege  from  the  court  of  the 
Parliament  of  Paris,  dated  December  21,  1524.  This  is  a  satirical  produce 
tion,  in  verse,  attributed  to  Pierre  Gringoire,  otherwise  called  Vaudemont, 
at  the  head  of  which  appears  the  figure,  or  effigy,  of  the  '  heretic,'  signed 
with  the  monogram  in  question.  The  description  of  the  effigy  is  as  follows : 

En  gibeciere  on  luy  voit  ratz  avoir. 
Qui  sont  rongeans  et  serpens  detestables 
En  son  giron  faisant  mords  diffamables. 
De  son  sian  sort  ung  aspre  feu  vollant, 
Qui  cueur  et  corps  et  livres  est  bruslant.' 

This  very  rare  work  was  reprinted  at  Chartres.in  1832,  under  the  aus' 
pices  of  M.  Herisson,  the  librarian  of  that  city.  The  reprint  contains  a 
facsimile  of  the  engraving. 

II.  Heures  de  Nostre  Dame,  translate es  en  francoys  et  mises 
EN  rithme  par  Pierre  Gringoire,  dit  Vaudemont,  par  le  com' 

MANDEMENT  DE  .  .  .  MADAME  ReGNEE  DE  BoURBON,  DUCHESSE  DE 

Lorraine,  etc. 

A  quarto,  in  gothic  type,  undated,  but  containing  a  table  of  Easter/ 
Days  beginning  with  1524,  and  a  privilege  dated  October  10,  1525. 

This  book,  which  was  published  by  the  bookseller  Jean  Petit,  contains 
13  large  engravings,  a  list  of  which  follows :  — 

1.  The  Annunciation. 

2.  Adam  and  Eve. 

3.  The  Cross. 

4.  The  Holy  Ghost. 

5.  The  Descent  of  the  Holy  Ghost  upon  the  Apostles. 

6.  David  praying  for  Zion,  threatened  with  the  divine  thunderbolts. 

7.  The  Virgin  and  the  Child  Jesus. 

8.  A  Family  at  Table  (Pentecost?). 

9.  Eight  Naked  Children  Praying;  the  Holy  Trinity  in  the  Heavens. 

10.  The  Manna. 

11.  David's  Penance. 

I .  In  his  game-bag  we  see  that  he  hath  rats. 
Which  are  detestable,  and  gnawing  vermin 
Making  shocicing  wounds  in  his  vitals. 
From  his  breast  cometh  a  keen,  darting  flame, 
Which  burneth  heart  and  lips  and  body. 


ICONOGRAPHY 


i8i 


12.  The  Triumph  of  Death. 

13.  Jesus  receiving  the  Crown  of  Thorns  and  the  Reed. 

Only  the  last  of  these  bears  the  monogram  that  I  have  described ' ; 
but  the  other  engravings,  being  in  the  same  style,  should  all  be  attributed 
to  Tory.  We  might  perhaps  also  attribute  to  him  the  six  analogous  en^ 
gravings  which  appear  in  the  same  author's '  Chants  royaux '  (printed  at 
the  same  time  and  usually  bound  with  the  Hours),  but  not  one  of  which 
is  signed.  They  represent :  — 

1.  The  Synagogue:  Jesus  in  the  background,  entering  a  pillar. 

2.  The  Prodigal  Son :  Jesus  in  the  background,  curing  a  woman. 

3.  Hunters :  Jesus  in  the  background,  curing  one  possessed  of  devils. 

4.  The  Miracle  of  the  Loaves  and  Fishes. 

5.  Entrance  of  Jesus  into  Jerusalem. 

6.  The  Crowning  with  Thorns. 

These  two  books  have  been  reprinted  several  times.  I  know  of  four 
quarto  editions  of  the  Hours.^  The  first  is  the  one  I  have  just  described. 
It  contains  some  other  engravings,  in  an  entirely  different  style  from  Tory's, 
which  appear  also  in  other  books  of  Hours  of  older  date.  The  second  has 
a  table  of  Easter^Days  beginning  with  1528,  and  a  privilege  dated  Novem^ 
ber  15, 1527.  In  other  respects  it  is  similar  to  the  earlier  one.  The  third  has 
a  table  of  Easter/Days  beginning  with  1534.  It  is  like  the  last  except  in 
one  point :  in  place  of  the  final  engraving  there  is  a  different  one,  signed 
in  the  same  way,  representing  Job  at  prayer  before  his  burning  house, 
and  his  neighbours  reviling  him.  This  engraving  proves  that  Tory  must 
have  engraved  a  longer  series  from  which  the  printer  took  this  one  at 
random,  being  unable  at  the  moment  to  find  the  one  that  he  required.  The 
fourth  has  a  calendar  beginning  with  1540.  It  is  like  the  second,  except  for 
the  privilege,  which  is  dated  November,  1525,  doubtless  by  mistake.  These 
four  editions  are  all  in  the  Bibliotheque  de  I'Arsenal. 

III.  HiSTOIRE  .  .  .  DE  LA . . .  GLORIEUSE  VICTOIRE  OBTENUE  CONTRE  LES 
SEDUITZ  ET  ABUSEZ  LUTHERIENS  MESCREANZ  DU  PAYS  dAuLSAYS  .  .  . 
PAR  .  .  .  AnTHOINE  .  .  .  DUG  DE  CaLABRE  .  .  .,  PAR  NiCOLE  VOLCYR 

(otherwise  called  Volkire)  de  SEROUViLLE,etc. 

1 .  In  an  imperfect  copy  of  this  book,  on  parchment,  which  I  have  seen  at  the  shop  of  M. 
Potier,  and  which  is  illuminated,  the  artist  has  erased  Tory's  mark,  for  what  purpose  I  have 
no  idea. 

2.  It  seems  that  the  Parliament  proposed  at  first  to  prohibit  the  publication  of  this  book  ;  but 
evidently  it  did  not  persist  in  its  opposition,  for,  besides  the  four  quarto  editions,  I  have  seen  four 
others  in  octavo,  which,  however,  are  without  interest  for  us.  See  Brunet's  Manuel du  Libraire, 
under  '  Gringoire. ' 


l82 


GEOFROY  TORY 


Small  folio,  in  gothic  type,  without  date  of  printing,  but  with  a  privi' 
lege  dated  January  12,  1526  (1527  new  style),  issued  by  Jean  de  la  Barre, 
♦garde  de  la  prevote'  of  Paris.  The  battle  took  place  in  1525. 

Volcyr's  work  contains  seven  engravings,  but  only  the  last  two,  at  the 
beginning  of  the  last  two  books,  are  signed.  We  may,  however,  I  think, 
attribute  to  Tory  the  one  at  the  head  of  the  first  book  also.  A  description 
of  these  engravings  follows:  — 

1 .  Frontispiece  representing  Faith :  a  helmeted  woman  trampling  upon 
the  dragon. 

2.  The  author,  seated,  writing  his  book. 

3.  A  large  plate  representing  a  warrior  (the  Duke  of  Calabria.?)  amidst 
his  men,  waving  his  sword. 

4.  A  bishop  praying. 

5.  The  author  offering  his  book  to  the  prince.  A  fine  plate  on  which  are 
several  scattered  letters,  the  meaning  of  which  I  am  unable  to  conceive. 

6.  A  large  plate  representing  the  attack  on  the  town  of  Saverne.  At  the 
top  is  the  word  '  Saberna.' 

7.  A  large  plate  representing  the  vision  of  the  Passion.  Jesus  at  prayer, 
a  halo  about  his  head ;  facing  him,  angels  presenting  the  Cross ;  behind 
him,  other  angels  bearing  the  post  to  which  he  was  bound;  all  about  him, 
the  instruments  of  his  torture.  This  plate  is  altogether  in  the  manner  of 
those  in  the  following  work. 

IV.  The  Labours  of  Hercules. 

Twelve  large  plates,  folio,  owned  by  the  Bibliotheque  Nationale.  Each 
of  them  was  formerly  accompanied  by  a  number  and  by  a  quatrain  in 
French  explaining  the  subject ;  unfortunately  these  have  been  removed 
from  most  of  the  plates,'  and  it  is  impossible  for  me  to-day  to  place  them 
with  full  assurance  in  the  order  in  which  they  belong.  However,  that 
given  below  seems  to  me  most  natural.  The  three  which  retain  their  num' 
bers  are  marked  by  an  asterisk. 

1.  The  Nemean  Lion. 

2.  The  Lernean  Hydra. 
*3.  Cerberus. 

4.  Antasus. 

5.  Archelaus. 

I .  This  deplorable  practice  of  removing  the  text  from  engravings,  which  was  once  rigour- 
ously  followed  in  the  Cabinet  des  Estampes  at  the  Bibliotheque  Nationale,  injured  the  collec- 
tion materially.  There  are  many  pieces  of  which  neither  the  origin  nor  the  meaning  is  known, 
because  of  the  removal  of  the  legends  which  formerly  accompanied  them. 


ICONOGRAPHY  183 

6.  Hippodamia. 

7.  Geryon. 

8.  The  Pillars  of  Hercules. 
*9.  The  Cretan  Bull. 

*io.  The  Erymanthian  Boar. 

11.  Cacus. 

12.  Hercules  at  the  Stake. 
All  of  these  engravings  are  signed : 
We  give  here,  as  specimens,  three  of  the  quatrains  accompanying  the 

engravings;  they  are  the  only  ones  preserved  at  the  Bibliotheque  Nation 
nale.  They  may  very  weU  be  the  w^ork  of  Gringoire,like  the  verses  of  the 
*  Blazon  des  Heretiques,'  of  the  same  date. 

Number  3 

II  braue  les  enfFers  (chose  a  luy  tresaisee), 
Et  le  chien  Cerberus,  aux  trois  chefz  surmontant ; 
II  va  les  Infernaux  main  a  main  combattant, 
Pour  mettre  en  liberte  son  bon  amy  Thesee. 

Number  9 

Les  furieux  Thaureaux  (choses  esmerveillables) 
De  ses  deux  bras  nerveux  II  maitrise  aisement, 
Et  leur  faict  faire  loug  desoubs  luy  forcement 
Encor  qu'on  estimat  qu'ils  fussent  indomptables. 

Number  10 

Ung  sanglier  escumeux  a  la  grand'  dent  pointue, 
Qui  hommes,  vignes  et  bleds  degatoient  enrage, 
Et  par  qui  IVniuers  estoit  endommage, 
Seul,  par  sa  hardiesse,  II  acreuante  et  tue.' 

I.  Number  3 

Hell  he  defies  (to  him  no  arduous  task). 
And  the  dog  Cerberus,  him  with  the  three  heads; 
He  seeks  the  infernal  regions,  fighting  hand  to  hand. 
To  set  at  Hberty  Theseus  his  good  friend. 

Number  9. 
The  raging  bulls  (most  marvellous  to  see) 
With  his  two  sinewy  hands  he  masters  easily. 
Compels  them  by  main  force  to  bend  the  knee. 
Albeit  they  were  deemed  unconquerable. 


l84  GEOFROY  TORY 

The  orthography  of  these  verses  proves  that  they  were  printed  in  the 
seventeenth  century ' ;  but  the  very  appearance  of  the  verses,  and  the  con^ 
dition  of  the  plates,  which  are  already  worm-eaten,  are  sufficient  to  justify 
one  in  assigning  to  the  latter  a  very  much  earlier  date  than  to  the  former. 
So  that  I  can  do  no  better  than  to  refer  them  to  the  year  1525,  when  we 
find  Tory  using  the  same  monogram. 

Tory  seems  to  have  attempted  in  these  plates  to  imitate  Mantegna, 
whose  work  he  may  have  studied  in  Italy ;  but  he  had  the  good  sense  to 
abandon  this  manner,  which  was  not  his  own ;  or  perhaps  we  should  say 
that  he  did  no  more  than  follow  designs  which  were  supplied  to  him. 

This  is  what  M.  Renouvier  has  to  say  on  this  subject :  — 

'  The  plates  signed  with  a  G  surmounted  by  the  Lorraine  cross  are 
of  more  importance.  The  Labours  of  Hercules,  in  twelve  plates,  are  the 
work  of  no  commonplace  artist.  The  drawing  assumes  a  masterly,  even  a 
rough,  character,  seeking  effects  in  the  play  of  muscles  and  of  facial  ex-* 
pression  in  imitation  of  Mantegna  and  Albrecht  Diirer ;  the  cutting  fol' 
lows  up  the  effect  of  the  burin.  Bartsch  mentioned  them  among  the  old 
German  masters,  and  the  monogrammatists  wavered  between  Jean  Schoo' 
rel,  Georges  Scharfenberg,  Giuseppe  Scolari,  etc. ;  their  French  origin  was 
not  suspected  until  some  proofs  were  found  on  which  the  engravings 
were  accompanied  by  French  quatrains.  Then,  when  the  same  mark  was 
found  on  a  plate  used  as  a  frontispiece  to  Pierre  Gringoire's  "  Blazon  des 
Heretiques"  (1524),  and  on  several  vignettes  in  the  Hours  rendered  into 
verse,  by  the  same  poet,  it  was  attempted  to  make  a  wood-'engraver  of 
Gringoire,  who  was  a  Lorrainer,  herald^at^arms  to  Due  Rene  II,  and  likely 
enough  to  display  the  cross  of  Lorraine  over  his  initial.  This  much  is  cer^ 
tain:  that  the  mark  consisting  of  a  G  with  the  cross  of  Lorraine  is  found 
also  on  the  plates  of  a  Lorraine  book — "  Due  Anthoine's  Victory  over  the 
Lutherans  "  —  published  by  his  secretary  Volcyr,  who  paid  the  expenses 
of  the  publication,  "being  unable  to  find  any  bookseller  who  was  willing 
to  undertake  it,  as  well  because  of  the  portraits  and  cuts  of  the  illustra^ 
tions  as  of  the  printing  hereof,"  and  caused  it  to  be  issued,  not  in  Lor^ 
raine,  but  in  Paris,  by  Galliot  Dupre,  in  1526.  It  is  to  be  noticed  that  this 

Numier  lo. 

A  boar  with  frothing  lips  and  long  sharp  tusks, 
Who,  in  his  rage,  despoiled  men,  fields  and  vineyards. 
And  by  whom  the  whole  world  was  ravaged. 
He,  by  his  courage,  all  alone,  did  slay. 

I ,  On  March  4,  1 858,  at  the  Lassus  sale,  I  saw  a  complete  set  of  the  Labours  of  Hercules, 
without  the  verses. 


ICONOGRAPHY  185 

bookseller's  mark,  which  represents  a  galliot,  also  has  a  Lorraine  cross  sur^ 
mounting  his  cipher.  Now,  the  attribution  of  these  plates  to  Geofroy 
Tory  is  based  upon  some  very  ingenious  comparisons  of  marks ;  the  style 
of  the  engravings  places  no  insurmountable  obstacle  in  the  way  of  such 
attribution,  but  it  must  be  admitted  that  the  engraver  was  led  very  far 
astray  from  his  earlier  works  by  his  imitation  of  the  German  manner.  It 
is  possible,  because  French  engraving,  at  the  beginning  of  the  sixteenth 
century,  was  pulled  in  four  directions  at  once,  so  to  speak,  by  national 
habit,  by  Flemish  taste,  by  German  mania,  and  by  Italian  charm.  M.  Ber/ 
nard  would  give  the  fullest  sanction  to  this  second  attribution  if  he  could 
find  any  evidence  of  a  journey  of  Tory's  to  Alsace  or  Lorraine  of  a  later 
date  than  his  journey  to  Italy;  the  importation  of  woodcuts  from  those 
provinces,  then  a  common  occurrence,  would  indeed  suffice,  so  far  as  the 
common  herd  of  our  engravers  is  concerned,  to  explain  this  alteration  in 
their  manner.  I  will  mention  in  a  moment  an  example,  also  out  of  Lor/ 
raine,  which  must  certainly  have  been  known  to  Tory.  Whatever  the  fact 
may  be,  the  Labours  of  Hercules  deserve  an  honourable  place  among  the 
first  attempts  on  a  large  scale  of  French  engraving,  beside  the  plates  of 
Jean  Duvet.  The  British  Museum,  like  our  Cabinet  des  Estampes,  has  ac 
quired  a  set  of  them.  Two  of  the  plates  in  the  latter  set  have  the  quatrains 
which  are  lacking  in  the  corresponding  ones  in  the  Paris  set ;  these  are,  the 
fifth :  "The  sly  Archelaus  'gainst  Hercules  doth  contend  " ;  and  the  seventh : 
"  The  mighty  Geryon,  despicable  tyrant,"  etc' 

1526 

I.  I  have  said  that  the  floriated  letters  of  Simon  de  Colines  and  Robert 
Estienne  were  engraved  by  Geofroy  Tory.  I  cannot  furnish  material  proof 
of  the  fact  with  regard  to  those  of  Colines ;  but  I  am  about  to  produce 
incontestable  evidence  with  regard  to  Estienne's.  A  letter  in  one  of  his 
alphabets  is  signed  with  the  Lorraine  cross,  and  that  letter  is  the  G,  the 
initial  of  Tory's  own  name,  or,  as  we  say  to-day,  his  first  name  {prenom).  It 
is  as  if  he  had  written  *  Geofroy  Tory '  in  full.  But  in  this  case,  in  oppo^ 
sition  to  what  we  find  in  the  preceding  engravings,  the  cross,  instead  of 
being  above  the  G,  is  below  it,  and  hidden  as  much  as  possible  in  order 
not  to  injure  the  design  of  the  '  antique  letter.'  This  circumstance  proves 
not  only  that  Tory  was  the  engraver  of  Robert  Estienne's  floriated  let-- 
ters,  but  also  that  the  double  cross  was  that  artist's  mark. 

Is  it  not,  in  truth,  a  striking  fact  that  Tory  chose  the  letter  G  to  place 
his  mark  upon  ?  He  was  not  withheld  by  the  consideration  that  that  letter. 


i86  GEOFROY  TORY 


i88  GEOFROY  TORY 


ICONOGRAPHY  189 

not  being  in  very  common  use,  especially  at  the  l-teginniiig  of  words, 
appeared  rather  infrequently  in'  books."  As  always,  logic  prevailed  with 
him  over  every  other  consideration.  Let  us  see  how  far  it  carried  him. 

Later,  he  engraved  a  Greek  alphabet,  in  the  same  style,  for  Robert 
Estienne ;  as  he  could  not  put  his  mark  on  the  gamfna,  which  bears  no 
resemblance  to  the  G,  he  put  it  on  no  letter,  but  on  one  of  the  friezes 
executed  to  accompany  those  beautiful  floriated  letters.'  See  the  frieze 
in  question  at  the  beginning  of  the  second  volume  of  the  Works  of 
Eusebius,  three  volumes,  folio,  1544.^ 

II.  Besides  these  two  alphabets  of  capital  letters,  Tory  engraved  for 
Robert  Estienne  about  the  same  time,  six  different  marks  for  his  typo^ 
graphical  sign,  the  'Olive^Tree,'  of  which  a  description  will  be  found 
later  on,  in  section  3. 

III.  Tory  also  engraved,  about  the  same  time,  for  Simon  de  Colines, 
a  border  in  the  crible  style,  at  the  foot  of  which  is  a  sun  which  certain 
centaurs,  incited  thereto  by  women,  are  trying  to  seize.  (Silvestre,  no. 
523).  This  border  is  probably  of  1526,  when  Colines  turned  over  to 
Robert  Estienne  his  father's  establishment  and  set  up  for  himself  at  the 
'Soleil  d'Or,' opposite  the  College  de  Beauvais.  It  appears,  to  my  know-- 
ledge,  in  two  octavo  volumes  of  1529:  'Compendium  Grammaticae 
grac£  Jacobi  Ceporini,'  and  '  Liber  de  opificio  Dei.' 

1526— 1528 

This  whole  period  was,  in  all  probability,  absorbed  by  the  labour  of  en'' 
graving  and  editing  'Champ  fleury.'  For  one  of  the  first  engravings  in 
that  bookisdated  1526, and  itwas  finished  early  in  1529.  Although  the 
majority  of  these  engravings  are  not  signed,  they  must  all  belong  to  Tory, 
at  all  events  so  far  as  the  designs  are  concerned.'*  I  cannot  attempt  to  enu-' 

1 .  The  earliest  book  in  which  I  have  seen  it,  excluding  the  Thesaurus  latino!  linguae  of  i  5  3  6, 
and  the  Dictionarium  Latino-Gallicum  of  1538,  which  was  a  sequel  to  the  first,  and  in  which 
it  was  necessarily  used  (I  saw  these  two  books  at  M.  Didot's),  is  a  quarto  pamphlet,  pub- 
lished in  I  537,  on  the  occasion  of  the  discussions  between  Francois  I  and  Charles  V,  entitled: 
Exernplaria  litterarum,  etc. 

2.  Later, Estienne  had  other  floriated  letters  engraved  at  Tory's  establishment,  carried  on  by 
his  widow.  But  the  G  was  not  then  chosen  to  receive  the  artist's  mark.  See  infra,  under  i  5  5  i . 

3.  [These  letters  and  friezes  appear  in  the  Works  ofjustin  Martyr  printed  by  Estienne  in  1  541 , 
from  which  they  are  reproduced  for  this  volume — some  of  the  letters  on  pp.  i  go  and  191,  and 
the  friezes  at  the  beginning  of  the  Printers'  Preface,  and  of  the  three  sections  of  the  Icono- 
graphy.] 

4.  Papillon,  who  saw  Woeiriot  everywhere,  says  on  page  509  of  the  additions  to  his  firbt 


GEOFROY  TORY 


ICONOGRAPHY 


192  GEOFROY  TORY 

merate  them  all  here,  for  there  are  more  than  five  hundred,  counting  as 
one  each  of  the  letters  in  the  various  alphabets ;  but  I  propose  to  mention 
the  more  important  ones.  For  historical  information  concerning  the  book, 
I  refer  the  reader  back  to  what  I  have  said  thereon  in  the  first  and  second 
parts  of  this  volume. 

The  title^'page  is  enclosed  in  a  very  pleasing  border,'  and  it  has  more' 
over  an  engraving  of  the  Pot  Casse  reversed.^  On  the  verso  are  the  arms 
of  France. 3 

Folio  I  of  text :  the  letter  L,  which  I  have  already  reproduced.'^ 

Folio  3  verso :  the  Gallic  Hercules.  This  engraving,  dated  1526,  and  signed 
with  the  Lorraine  cross,  represents  Hercules  holding  his  club  in  one  hand 
and  a  bow  in  the  other.  He  is  followed  by  divers  persons  of  all  conditions, 
fastened  by  the  ear  to  a  chain  that  issues  from  the  hero's  mouth.  This  is 
an  allusion  to  the  power  of  eloquence  over  the  French.  The  strength  of 
the  Gallic  Hercules  lies  not  in  his  arms  but  in  his  mouth.5 

Folio  9  verso:  cut  of  the  lisjiambe,  a  species  of  lily ;  it  is  the  swamp  iris, 
called  to-day  the  iris  jiambe. 

Here  the  first  book  ends. 

The  second  contains  thirtyseven  geometrical  figures,  which  it  would 
be  no  less  difficult  than  unprofitable  to  describe.  They  are,  for  the  most 
part,  representations  of  different  letters.  At  the  end  of  this  bookisthe  «Tri' 
umph  of  Apollo  and  the  Muses,' '  to  show  that  they  who  have  knowledge 
of  goodly  letters  have  the  advantage  over  the  ignorant.'  This  engraving, 
which  is  in  two  parts,^  both  signed  with  the  Lorraine  cross  (folios  29  verso 
and  30  recto),  represents  Apollo  in  a  chariot,  escorted  by  the  Muses,  Lib/ 
eral  Arts,  etc.,  and  followed  by  Bacchus,  Ceres  and  Venus  as  prisoners.^ 

On  the  very  last  page  (folio  30  recto)  is  an  engraving  of  the  lisjimnbe 
surmounted  by  an  A  made  up  of  three  I's.^ 

The  third  book  has,  in  the  first  place,  twenty'-eight  engravings  of  Ro^ 

volume  :  '  Champ  jieury  is  filled  with  woodcuts  by  Woeiriot,  —  among  others  several  capital 
letters  with  nude  human  figures  for  their  limbs,  and  several  vignettes  about  three  inches  by  two 
and  a  half,  simply  in  outline,  with  the  cross  of  Lorraine  in  every  corner. '  As  a  matter  of  fact 
there  are  very  few  Lorraine  crosses  on  the  engravings  of  Champ  Jieury. 

1.  [Reproduced  on  the  title-page  of  the  present  volume.] 

2.  [See  supra,  p.  45,  no.  4.] 

3.  [See  supra,  p.  100.] 

4.  See  supra,  p.  i .  Neither  this  engraving  nor  those  last  mentioned  are  found  in  the  octavo 
edition  of  Champ  Jieury. 

5.  See  the  reproduction  of  this  cut  on  p.  141,  supra. 

6.  In  the  octavo  edition  it  was  found  to  be  impossible  to  have  the  two  parts  face  each  other, 
60  that  Apollo's  chariot  is  cut  in  two. 

7.  [Reproduced  on  pp.  50  and  51  supra.]       8.  [Reproduced  on  p.  48,  supra.] 


ICONOGRAPHY  193 

man  letters.  The  twenty-Tiinth  represents  a  gothic  S  (folio  42  verso).  The 
thirtieth  is  a  representation  of  the  Pot  Casse,  signed  with  the  Lorraine  cross 
(folio  43  verso).' 

Next  come  thirty^eight  other  cuts  of  letters,  and  two  curious  drawings 
of  the  letterY(folio  63  recto  andverso).^  Then  two  ordinary  copies  of  the 
letter  Z,  and  an  allegory  based  on  the  shape  of  that  letter  (folio  6^)  J 

On  folio  65  verso 
is  a  representation 
of  various  punctual 
tion  marks. 

Folios  68  verso  and 
69  recto :  a  Hebrew 
alphabet  of  forty  let^ 
ters  or  symbols. 

Folio  71  recto:  the 
Greek  alphabet  of 
twentyfour  letters 
and  three  accents."* 

Folio  72  recto :  the 
Latin  alphabet  ^  of 
twenty^three  letters, 
with  three  punctual 
tion  marks,  and  the 
Greek  abbreviation 
of  the  name  of  Jesus. 

Folio  74  recto :  the 
alphabet  of  cadeaulx 
letters,  consisting  of 
twenty'-three  letters 
and  one  mark. 

Folio  74  verso:  the  alphabet  of  letters  de  forme,  consisting  of  twenty/ 
nine  letters  or  symbols,  with  two  lines  of  text  added. 

Folio  75  recto:  the  alphabet  of  bastardes  letters,  consisting  of  twenty-' 
eight  letters  or  symbols,  followed  by  two  lines  of  text. 

Folio  75  verso:  the  alphabet  of  tourneures  letters,  consisting  of  twenty/ 
three  letters. 

I.  This  cut  does  not  appear  in  the  octavo  edition.  It  is  reproduced  on  p.  21,  supra  [where 
it  is  said  to  be  on  43  recto]  .  2.  [One  of  these  is  reproduced  on  this  page.] 

3.  [Reproduced  on  p.  152,  supra.]         4.  [Reproduced  on  the  following  page.] 
5.  These  letters  do  not  appear  in  the  octavo  edition.  [Reproduced  on  p.  195,  infra.] 


ABFAEZ 

HGIKA 

MNHOn 

PETTO 
XTQ  : 


ABCDEF 

GHIKLM 
NOPQR 

STVXY 


196  GEOFROY  TORY 

Folio  76  recto:  the  alphabet  of  Persian,  Arabic,  African,  Turkish  and 
Tartar  letters,  thirty  in  all. 

Folio  76  verso:  the  alphabet  of  Chaldasan  letters,  consisting  of  twenty/ 
three. 

Folio  77  recto :  the  alphabet  digoffes  letters,  otherwise  called  imperiales 
and  bullatiques,  twenty-'three  in  number. 

Folio  77  verso:  the  alphabet  oi  fantastic  letters,  to  the  number  of 
twenty/three. 

Folio  78  recto:  the  alphabet  oiutopiques  and  voluntaires  letters,  to  the 
number  of  twentythree. 

Folio  78  verso :  an  alphabet  of  floriated  letters  used  in  the  course  of  the 
book,  twenty-'three  in  number.' 

Folio  79  recto :  a  series  of  ciphers  or  intertwined  letters,  to  the  number 
of  ten. 

Folio  80  recto,  and  last :  a  border  of  graceful  design,*  in  which  occur 
Tory's  mottoes :  ' Menti  bonae  Deus  occurrit ' ;  'Sic  ut,  vel  ut ' ;  ' Omnis 
tandem  marcescit  flos.'  And  in  the  centre  is  the  Pot  Casse,  unsigned,  al^ 
though  it  seems  to  be  the  same  cut  that  appears  on  folio  43  verso,  with  the 
cross  removed. 

1527 

I.  Notables  enseignemens,  adages  et  proverbes,  faictz  et  com/ 
POSES  par  Pierre  Gringoire,  dit  Vauldemont. 

Octavo,  in  gothic  type,  of  68  leaves ;  for  sale  by  Galliot  du  Pre ;  printed 
by  Simon  du  Boys,  February  i,  1527  (1528  new  style). 

On  the  verso  of  the  second  leaf  is  a  wood^engraving  with  the  Lorraine 
cross  at  the  right.  It  represents  Gringoire  offering  his  book  to  the  king, 
who  is  seated.  In  the  background,  a  garden  with  a  bee/hiveand  bees  flying 
about  it.  (Bibliotheque  Nationale.) 

II.  LeS  HYMNES  communes  DE  l'ANNEE  :  TRANSLATEZ  DE  latin  en  FRAN/ 

cois  EN  RiTHME,  PAR  NicoLAS  Mauroy  le  jeune,  de  Troyes,  avec 
privilege  du  roy  pour  trois  ans.  (Mark  of  Jean  Lecoq.)  On  les  vend  a 
Troyes  es  hostels  de  Nicolas  Mauroy,  etc. 

The  privilege  is  of  1 527.  Small  folio,  in  gothic  type,  printed  in  red  and 
black ;  signatures  A  to  T. 

1 .  This  alphabet,  which  Tory  used  in  several  of  the  books  printed  by  him,  as  I  have  already 
stated,  was  replaced  by  a  different  one  in  the  octavo  edition  of  Champ  Jleury. 

2.  Not  in  the  octavo  edition.  [Reproduced  on  p.  49,  supra.] 


ICONOGRAPHY  197 

This  volume,  which  I  saw  in  1858,  at  M.  Techener's,  contains  a  large 
number  of  engravings  in  the  crible  style,  and  others  in  the  modern  style; 
but  only  three  of  them  are  signed;  these  are:  — 

1.  A  Last  Supper,  crible. 

2.  A  Last  Supper, '  a  la  moderne.* 

3.  The  Virgin,  seated,  holding  the  Child  Jesus  (folio  89  verso). 
This  book  may  give  us  the  date  of  the  other  signed  engravings  found 

at  Troyes,  which  were  published  by  M.  Varlot  in  his  '  Illustration  de 
rimprimerie  troyenne'  (Troyes,  1850,  folio). 

III.  Hours  of  the  Virgin,  in  Latin,  published  by  Tory,  but  printed  by 
Simon  de  Colines ;  octavo.' 

IV.  Hours  of  the  Virgin,  in  Latin,  published  by  Tory,  but  printed  by 
Simon  Dubois ;  quarto.^ 

1528 

I.  Aristophanes. 

In  1 528  Pierre  Vidoue  printed,  at  the  expense  of  GOles  de  Gourmont, 
nine  comedies  of  Aristophanes,  in  Greek,  which  were  published  separately, 
in  quarto  form,  under  the  editorship  of  JeanCheradam.^  All  of  these  have 
a  frontispiece  engraved  by  Tory,  of  which  a  description  follows.  At  the 
foot,  under  the  words  'Egidivs  Gormontivs '  in  large  letters,  is  a  shield 
with  the  Gourmont  arms  (three  roses  in  chief  and  a  crescent  in  point), 
supported  by  two  winged  stags  with  ducal  coronets  about  their  necks,  the 
crest  being  a  helmet  above  which  is  a  St.Michael  holding  a  naked  sword.'* 
At  the  left,  a  Greek  inscription ;  at  the  right,  an  inscription  in  Hebrew. 
The  two  uprights  represent  the  wise  men  offering  their  gifts  to  the  Child 
Jesus  lying  on  his  mother's  knees.  At  the  topis  a  shield  with  three  crowns 
in  chief  (this  was  the  sign  of  Gilles  de  Gourmont,  as  may  be  seen  on  the 
title-page  of  'Champ  fleury '),  and  tears  in  the  field.  This  shield  has  for 
supporters,  on  the  right  a  Hon,  on  the  left  a  griffin,  and  for  crest  a  helmet 
surmounted  by  a  fan^shaped  ornament.  On  either  side  is  an  angel  with 
wings  holding  a  shield ;  that  on  the  left  enclosing  an  E,  that  on  the  right 

1.  [See  supra,  pp.  I  20-1 22]  . 

2.  "See  supra,  pp.  I  22-1 24] . 

3 .  Lutetice,  sumptibus  ^gidii  Gormoniii,  studio  Joannis  Cheradami,  labor e  et  industria 
Petri  Vidovcei. 

4.  This  engraving  was  used  later  as  a  model  for  a  magnificent  plate  placed  at  the  beginning 
of  the  Tableaux  des  arts  liber aux  de  Chris tophe  de  Savigny,  published  in  1587,  in  folio,  by 
Jean  and  Francois  de  Gourmont,  sons  of  Gilles.  See  my  Les  Estienne,  p.  63,  note. 


ICONOGRAPHY  199 

a  G,  the  initials  of  Gilles  de  Gourmont's  name  in  Latin  (Egidius  Gour/ 
montius).  The  Lorraine  cross  is  at  the  foot  of  the  border,  on  the  left.' 

II.  Enchiridion  preclare  ecclesie  Sarum,  devotissimis  precationp 

BUS  AC  VENUSTISSIMIS  IMAGINIBUS,  ET  IISQUIDEMNON  FAUCIS  REFERS 

TUM.  (Here  the  mark  of  Thielman  Kerver  —  two  unicorns  holding  a 
shield  au  Gril,  with  the  T.  K.,  and,  beneath,  the  full  name,  Thielman 
Kerver.)  Parisiis  ex  officina  librarie  vidue  spectabilis  viri  Thielmanni. 
Small  octavo,  Paris,  1528,  with  engravings  signed  with  the  Lorraine 
cross.^  Printed  in  red  and  black,  in  gothic  type.  There  are  31  signatures  of 
8  leaves, — a  to  z,  and  A  to  G  (signatures  x  and_y  have  only  four  leaves 
each).  In  all  there  are  232  numbered  leaves,  plus  4  leaves  of  index  not 
numbered. 

The  volume  begins  with  the  title-page,  followed  by  a  calendar,  the 
whole  occupying  13  leaves,  after  which  comes  the  text.  It  contains  54  en/ 
graved  plates,  12  of  which  are  in  the  calendar,  and  a  large  number  of 
initial  letters  representing  sacred  subjects.  Beneath  each  plate  is  a  quatrain 
in  English. 

The  12  plates  in  the  calendar  represent  allegorical  subjects.  They  are 
enclosed  in  oval  borders,  and  are  71  millimetres  by  55.  Consequently  they 
are  all  out  of  proportion  to  the  size  of  the  book,  which  is  84  millimetres 
by  48.  It  is  evident  therefore  that  they  were  not  made  for  it.  At  the  foot 
of  each,  in  the  border,  is  the  name  of  the  month.  The  engraving  for  the 
month  of  February  represents  a  school ;  that  for  March,  a  hunt ;  that  for 
April,  a  gentleman  and  lady,  walking  in  the  country,  arm  in  arm ;  that  for 
July,  a  domestic  interior.  The  last  is  the  only  one  of  these  engravings 
that  I  have  seen,  and  that  only  in  a  copy.  The  Lorraine  cross  may  be 
seen  at  the  foot. 

Here  follows  a  list  of  the  other  engravings  of  this  priceless  volume,  of 
which  only  a  single  copy  is  known  to  exist.  It  is  to  be  observed  that  the 
pages  on  which  they  appear  are  not  numbered,  as  the  cuts  occupy  the  whole 
space. 

1.  For  the  family  ofGourmont,  see  my  Les  Estienne,  pp.  62  and  63,  notes. 

2.  Not  all  of  the  engravings  are  signed;  but,  as  I  have  not  been  able  to  inspect  the  volume, 
which  was  apart  of  the  Boorluut  library  of  Noortdonck,  sold  at  Ghent  in  April,  1858,  I  am 
obliged  to  resort  to  the  words  of  the  compiler  of  the  catalogue  of  that  sale,  my  confrere  M. 
Vander-Meersch,  who  has  kindly  furnished  me  since  with  some  more  detailed  information 
(albeit  less  complete  than  I  could  have  wished),  after  the  volume  was  sent  to  England.  M. 
Boorluut  had  paid  i  franc  50  centimes  for  the  volume,  which  was  sold  to  a  London  bookseller, 
Mr.  Toovey,  on  April  1 9, 1 858,  for  270  francs.  I  wrote  to  him  asking  for  details  concerning  it; 
but,  in  accordance  with  the  not  over-courteous  English  custom,  he  did  not  choose  to  tell  me  for 
whom  he  had  purchased  the  book,  so  that  I  have  been  unable  to  obtain  more  ample  information. 


200 


GEOFROY  TORY 


1.  The  Trinity. 

2.  The  Annunciation. 

3.  The  Visitation. 

4.  Jesus  arrested  by  the  Jews. 

5.  Nativity  of  Jesus. 

6.  Jesus  before  Pilate. 

7.  The  Annunciation  to  the  Shep/ 
herds. 

8.  The  Crowning  with  Thorns. 

9.  The  Adoration  of  the  Magi. 

10.  The  Bearing  of  the  Cross. 

11.  The  Circumcision. 

12.  Jesus  on  the  Cross. 

13.  The  Fhght  into  Egypt. 

14.  The  Descent  from  the  Cross. 

15.  The  Coronation  of  the  Virgin. 

16.  The  Placing  in  the  Tomb. 

1 7.  David  and  Bathsheba. 

18.  David  and  Joab. 

19  to  23.  The  Story  of  David. 

24.  Dance  of  the  Dead. 

25.  Three  Men  on  Horseback 
in  a  Forest. 


26.  Adam  and  Eve  expelled  from 
Paradise. 

27.  Adam  and  Eve  condemned  to 
labour. 

28.  The  Creation  of  Man. 

29.  Six  Men  praying  before  a  Bier. 

30.  Birth  and  Death. 

31.  Purgatory. 

32.  Extreme  Unction. 
33-  Job. 

34.  AWoman,seated,surroundedby 
the  Virgin,  the  Evil  One,  and  a 
Man  bearing  the  World. 

35.  The  Trinity  (same  as  no.  i). 

36.  Jesus  in  Limbo. 

37.  The  Resurrection. 

38.  Jesus  appearing  to  His  Mother. 

39.  Jesus  appearing  to  Mary  Mag-' 
dalen. 

40.  Jesus  at  Emmaus. 

41.  The  Incredulity  of  St.  Thomas. 

42.  The  Ascent  of  the  Virgin.' 


1529 

I.  Encomium  trium  Mariarum,  etc.,  Joannis  Bertaudi. 
Quarto,  Paris,  Josse  Bade,  1529. 

The  Bibliotheque  Mazarine  has  two  copies  of  this  priceless  volume, 
one  on  paper,  the  other  on  vellum,  which  differ  slightly  in  respect  to  the 
title-page.  The  one  on  vellum  reads : '  Encomium  Joannis  Bertaudi  Petra^- 
gorici  Turrisalba  in  ducatu  Engolismensi  alumni,  de  cultu  trium  Ma^ 
riarum  adversus  Lutheranos,  cum  missa  solemniore  et  officio  canonico 
earundem,  auspiciis  augustissims  principis  Joannse,  Aurelianensis,  Gyve-' 
riensium  dominae  ac  comitis  de  Barcq.'  This  is  followed  by  a  large  plate 
signed  with  the  Lorraine  cross,  and  representing  the  three  Maries,  etc. 
There  is  no  publisher's  name;  nothing  but  Josse  Bade's  mark  at  the  end  of 
the  book. 

I .  I  am  not  informed  whether  these  cuts  appear  in  Hore  Marie  Virginis  ad  usum  Sarum, 
I  532,  or  in  The  Prymer  of  Salisbury,  i  534,  both  of  which  were  printed  at  the  same  establish- 
ment. 


ICONOGRAPHY 


201 


The  title-page  of  the  copy  on  paper  reads :  '  Encomium  trium  Maria/ 
rum  cum  earumdem  cultus  defensione  adversus  Lutheranos,  solemnique 
missa  et  officio  canonico,  in  quibus  omnibus  desideres  nihil,  emissum  opera 
et  industria  Joannis  Bertaudi  Petragorici,  utriusque  juris  licentiati,  T\iu 
risque  Alba  in  ducatu  Engolismensi  alumni,  auspiciis  augustissimae  prin^ 
cipis  Joannae  Aurelianensis,  Gyveriensium  dominas  ac  comitis  de  Barcq.' 
Then  follows  Josse  Bade's  mark : '  Prelum  Ascensianum,'  taking  the  place 
of  the  engraving  of  the  three  Maries.  And  below, '  Venundatur  Jodoco 
Badio  et  Galeoto  a  Pratis.' 

This  difference  is  explained  by  the  fact  that  the  copies  on  vellum  were 
not  intended  for  sale,  so  that  no  bookseller's  name  was  placed  on  them, 
and,  furthermore,  they  were  embellished  with  the  cut  of  the  three  Maries. 

This  volume  contains  three  short  productions  by  Jean  Bertaud,  all  di/ 
rected  to  the  same  end — the  defence  of  the  worship  of  the  three  Maries. 

They  are  entitled : 

(i)  Encomium  trium  Mariarum.  (2)  Officium  trium  filiarum  beatae 
Annas.  (3)  De  cognatione  sacerrimi  Joannis  Baptistae. 

There  are  some  twenty  engravings,  but  none  of  them  are  signed  ex'- 
cept  that  of  the  three  Maries.  And,  as  Josse  Bade  was  an  old  printer,  who 
had  no  known  relations  with  Tory,  we  may  assume  that  these  engravings 
are  not  by  our  artist.  At  most,  we  may  attribute  to  him  the  shield  of  Op 
leans,  at  page  4  of  the  first  work. 

II.  Hours  of  the  Virgin  (sixteenmo),  in  Latin,  published  by  Tory,  for 
himself.' 

III.  La  Table  de  l'ancien  philosophe  Cebes. 

Two  small  volumes,  octavo,  with  a  border  for  each  page.  The  double 
cross  appears  on  some,  not  all,  of  these  borders.' 

IV.  ^DiLOQuiUM . . .  Item :  Epitaphia  septem  de  amorum  aliquot  pas/ 
sioNiBus,  etc. 

Octavo,  Simon  de  Colines,  1 530. 

This  little  book  is  enriched  by  eight  engravings :  a  frontispiece  bop 
rowed  from  the  octavo  Hours  of  1527,  and  seven  small  subjects  corre/ 
sponding  to  the  seven  epitaphs.  The  latter  are  certainly  Tory's,  although 
not  signed.  They  are: — 

1.  [See  p.  1 25,  supra] . 

2.  See  what  I  have  heretofore  said  of  this  book,  pp.  85-87  supra. 


202 


GEOFROY  TORY 


1.  Two  hearts  pierced  by  an  arrow. 

2.  Two  hearts  in  a  circle. 

3.  Two  hearts  bound  together  by  cords. 

4.  Two  hearts  in  a  boat. 

5.  A  pig  sniffing  at  two  hearts. 

6.  Two  hearts,  a  distaff,  etc. 

7.  Two  hearts  being  kicked  by  a  horse. 

See,  for  other  details,  what  I  have  said  of  this  book  on  pages  92  and  93. 

1530-1531 

Queen  Eleonore's  Coronation  and  Entree,  and  the  Epitaphs  of 
the  Queen^Mother,  Louise  de  Savoie :  —  three  quarto  brochures,  of  which 
I  have  spoken  on  pages  1 30  to  1 34 ;  a  description  of  the  engravings  follows. 

I.  The  Consecration  and  Coronation  of  the  Queen  ;  three  sheets, 
quarto. 

On  the  first  page,  a  border,  with  the  word '  Salus '  at  the  foot ;  the  privi/ 
lege  is  on  the  verso.  The  text  begins  on  the  second  leaf,  with  the  letter  L 
reproduced  on  page  i .  On  the  last  page  is  another  border,  with  the  word 
'Salus,'  and  the  date  of  printing,  March  16, 1530,  old  style. 

II.  Entree  of  the  Queen;  six  sheets,  quarto. 

On  the  first  page  the  same  border  as  on  the  first  page  of  the  Hours  of 
15  24-25 ;  the  privilege  is  on  the  verso.  On  page  A  ij  recto,  another  border 
and  an  ornamental  letter  R,  afi:er  the  style  of  the  L  in  the  work  last  de^ 
scribed.  A  iiij  recto,  another  border.  B  iij  recto,  a  border,  with  the  motto 
*non  plus'  at  the  top.  B  viij  verso,  another  border,  with  the  word  'Salus' 
at  the  foot ;  this  is  identical  with  that  of  the  last  page  of  the  '  Coronation.' 
E  viij  recto,  another  border.  F  i  verso,  a  lovely  drawing  of  a '  present  made 
to  the  queen,  of  two  candlesticks.'  On  the  last  page  the  border  of  the  last 
page  of '  Champ  fleury,'  and  the  date  of  the  printing,  Tuesday,  May  9>  1 5  3 1 . 

III.  Epitaphs  of  Louise  de  Savoie  ;  two  sheets  and  a  half. 

First  page,  the  border  of  the  frontispiece  of  the  Hours  of  1 5  24-25,  with 
the  Pot  Casse  of  the  first  page  of  'Champ  fleury.'  Last  page,  the  border 
of  the  last  page  of '  Champ  fleury  *  and  the  Pot  Casse  of  the  first  page ;  also 
the  date  of  printing,  October  17, 153 1.  In  all  three  we  find  the  decorated 
letters  of '  Champ  fleury.' 

These  three  brochures,  bound  together  in  a  small  volume,  are  in  the 


ICONOGRAPHY  203 

Bibliotheque  de  I'Arsenal.  The  borders  used  in  them  reappear  later  as 
frames  for  the  engravings  of  a  book  of  Hours,  quarto,  printed  in  roman 
type,  in  red  and  black,  of  which  I  know  neither  date  nor  place  of  pri  nting 
nor  name  ofprinter ,  as  I  have  seen  nothingexcept  afe  w  leaves  ofthe  book, 
preserved  at  the  Bibliotheque  Nationale,  with  the  works  of  Tory. 

1531 

I.  Book  of  Hours,  quarto,  printed  by  Tory  for  himself' 

II.  Book  of  Hours,  octavo,  with  arabesques  of  flowers,  insects,  ani-' 
mals,  etc.,  as  in  the  quarto  Hours  of  1527.^ 

III.  Terentianus  Maurus,  DE  UTERIS,  etc.  NicoLAO  Briss^o  . . . 

COMMENTATORE. 

Quarto,  Simon  de  Colines,  1 53 1 . 

This  book  is  dedicated  to  Guillaume  Petit,  Bishop  of  Senlis,  whose 
arms,  with  the  Lorraine  cross,  appear  on  the  verso  of  leaf  8  of  the  front 
matter.  The  motto  is :  'Utinam  novissima  providerent.' 

IV.  ClAUDII  GaLENI  PeRGAMENI  de  ANATOMICIS  ADMINISTRATION!/ 
BUS  LIBRI  NOVEM,  JoANNE  GuNTERIO  AnDERNACO,  medico,  IN'' 

TERPRETE. — Parisiis,  apud  Simonem  Colinaeum,  1531. 

Large  folio,  with  an  engraved  frontispiece  having  the  Lorraine  cross 
at  the  foot,  on  the  left. 

The  frontispiece  represents  several  different  subjects.  At  the  top  is 
Jesus  healing  the  leper ;  at  the  foot,  doctors  dissecting  a  dead  body  and 
lecturing  to  a  numerous  audience ;  at  the  sides,  fiilMength  portraits  of 
the  most  celebrated  physicians  of  antiquity ;  in  the  centre  of  the  plate  is 
a  scroll  bearing  the  Latin  title  transcribed  above.  This  frontispiece  was, 
doubtless,  used  with  others  of  the  works  of  Galen. 

Simon  de  Colines  also  published,  in  1 536,  an  edition  of  the  works  of 
Galen,  under  the  supervision  of  the  same  editor  (folio  of  1 72  pages),  and 
embellished  with  five  beautiful  floriated  letters  engraved  by  Tory.  In  it 
we  find  also,  at  the  head  ofthe  epistle  to  the  reader,  an  ornamental  S  sur-* 
mounted  by  a  coat  of  arms,  —  a  charming  design,  but  not  signed. 

1.  [See  pp.  I  26— 1 28,  supra]  . 

2.  See  what  I  have  had  to  say  of  this  book,  pp.  i  28-1  29,  supra;  also,  p.  218,  infra,  under 
the  Hours  of  i  541,  where  we  find  these  same  borders,  called' a  la  moderne,'  together  with  the 
plates  of  the  Hours  of  1529,  described  on  p.  125,  supra;  which  leads  me  to  think  that  these 
same  plates  appeared  in  the  octavo  edition  now  under  consideration.  See  also  no.  1  of  the  year 
1536  (p.  208,  infra),  which  is  a  sort  of  link  between  the  editions  of  i  53  i  and  i  541 . 


204 


GEOFROY  TORY 


1532 

Latin  Bible  of  1532;  folio;  Robert  Estienne. 

The  title-page  is  decorated  with  a  frieze  signed  with  the  Lorraine  cross, 
bearing  the  word  'Biblia'  in  large  letters.  It  is  a  scroll  surrounded  by  vines, 
with  the  brazen  serpent  at  the  left,  and  Jesus  on  the  Cross  at  the  right. 

1533 

The  Bon  Mesnager  of  Pierre  des  Crescens,  printed  by  Nicolas  Cous^ 
teau  for  Galliot  Dupre.  Folio,  1533.  The  frontispiece,  representing  Dupre 
presenting  the  book  to  Francois  I,  is  signed  with  the  Lorraine  cross. 

Inasmuch  as  Tory  died  in  1533,  it  will,  perhaps,  seem  that  I  ought  to 
stop  here  in  this  enumeration.  But  as  many  engravings  executed  by  his 
own  hand  were  not  printed  until  later,  and,  moreover,  as  those  signed  with 
the  Lorraine  cross  alone  came  from  his  establishment,  which  was  man^ 
aged  by  his  wife  after  his  death,  I  have  thought  best  to  pursue  my  invest 
tigations  concerning  the  engravings  with  the  Lorraine  cross  to  the  end. 

1534 

I.  Sermones  Iudoci  Clichtovei  Neoportuen.  doctoris  theologi  et 
Carnoten.  Canonici. 

Folio,  Paris,  Thielman  Kerver's  widow,  1534.  The  privilege  is  dated 
1534.  (Bibliotheque  S.-'Genevieve,  and  Bibliotheque  Mazarine.) 

The  Latin  title  which  I  have  transcribed  is  engraved  in  great  gothic 
letters,  arranged  in  the  shape  of  a  cuPde^ampe,  and  terminated  by  a  small 
black  heart-shaped  ornament  (not  unlike  those  used  by  Simon  de  Colines), 
in  which  is  the  Lorraine  cross.  This  circumstance  leads  me  to  believe  that 
Tory  engraved  this  title-page  in  gothic  letters ;  a  most  interesting  fact  if 
true,  for  they  are  probably  the  only  letters  in  that  style  that  he  ever  en^- 
graved,  after  those  on  folios  42  verso,  74,  etc.  of '  Champ  fleury ' ;  and  it  is 
all  the  more  strange  because  the  rest  of  the  book  is  printed  in  roman  type. 
It  may  be  that  there  was  another  edition  in  gothic  type. 

However,  this  volume  contains  many  other  engravings  signed  with  the 
Lorraine  cross ,  and  others  which,  although  unsigned,  seem  to  be  Tory's. 

Folio  I,  following  the  title,  a  large  T,  adorned  with  fleurs^de^is,  on  a 
background  strewn  with  the  same  flowers. 

Folio  5  verso,  a  large  ornamental  P,  representing  the  Eternal  Father. 

Folio  1 9,  the  Virgin  in  a  halo  of  fire,  with  the  Child  Jesus  (signed). 


ICONOGRAPHY  205 

Folio  21,  Jesus  among  the  Apostles,  holding  a  saw  (signed). 

Folio  43,  Moses  receiving  the  Tables  (signed). 

Folio  63  verso,  the  Ark  in  the  form  of  a  church  (signed). 

Folio  77,  the  Annunciation,  in  an  oval  border  (octavo). 

Folio  88,  Birth  of  Jesus  (small  octavo). 

Folio  135,  the  Resurrection  (signed). 

Folio  148,  the  Ascension  (signed). 

Folio  154  verso,  the  Virgin  among  the  Apostles  (small  octavo). 
Folio  157  verso,  the  Trinity  (signed). 
Folio  161,  Easter  (signed). 

Folio  221,  Birth  of  the  Virgin.  She  is  in  her  mother's  womb,  holding 
the  Child  Jesus  (octavo). 

Folio  325,  Jesus  tempted  by  the  Devil  (octavo). 

The  octavo  engravings  appear  in  several  other  books  printed  by  the 
Kervers. 

II.  Pauli  Belmisseri  Pontremulani,  artium  et  medicine  doctq/ 

RIS,  EQUITIS,  ET  POET^  LAUREATI,  OPERA  POETICA. 

Quarto,  of  108  numbered,  plus  4  preliminary  unnumbered  leaves. 

Printed  in  1 534,  but  with  no  name  of  printer  or  bookseller.  On  the  first 
page  is  a  quarto  plate,  representing  the  author  crowned  with  laurel,  stands 
ing  between  FrangoisI  and  Clement  VII.  Beneath  these  three  personages 
are  their  respective  arms,  and  above  their  heads  their  names :  Franciscus, 
Paulus,  Clemens.  The  Lorraine  cross  is  at  the  foot,  on  the  left.  The  same 
plate  appears  on  the  last  page. 

1535 

LeS  troys  PREMIERS  LIVRES  DE  l'hISTOIRE  DE  DiODORE  SiCILIEN, 
TRANSLATEZ  DE  LATIN  EN  FRAN9OYS,  PAR  AnT.  MaCAULT.  .  .  .  On  leS 

vent  a  Paris,  en  la  rue  de  la  Juifverie,  devant  la  Magdaleine,  a  I'enseigne 
du  Pot  Casse  ' 

Quarto,  1535.  This  book  is  embellished  with  a  magnificent  frontispiece 
representing  Macault  presenting  his  book  to  Francois  I.  Although  un-' 
signed,  it  is  certainly  Tory's. 

'  His  chef'd'ceuvre,'  says  M.  Renouvier,^ '  is,  perhaps,  the  frontispiece 
of  Macault's  "  Diodorus,"  in  which  we  see  Francois  I  seated  in  a  chair  with 
a  back  carved  with  fleurs-de-lis,  at  table  with  his  children,  his  monkey,  his 
greyhound,  and  his  courtiers,  while  Macault  reads  his  book  to  him.  This 

I.  [Seep.  136,  supra.]    2.  Revue  Universelle  des  Arts,  Sept.  1857  (vol.  v,  no.  3,  p.  517)- 


ICONOGRAPHY 


207 


engraving,  the  authorship  of  which  is  unquestionable,  does  not  bear  the 
Lorraine  cross ;  the  master  published  without  that  mark  many  another 
work  which  M.  Bernard,  in  his  scrupulous  exactitude,  has  chosen  not  to 
mention.  As  some  compensation  for  the  works  which  I  have  denied  to 
Tory,  I  may  be  allowed  the  pleasure  of  mentioning  here  one  which  M. 
Bernard  has  not  attributed  to  him:  "  Les  Fables  d'Esopes  mises  en  rithme 
franf  ois,"  by  Gilles  Corrozet  (Paris,  Denys  Janot,  1542).  As  the  copy  that 
I  saw  is  not  complete,  it  may  be  that  the  Lorraine  cross  might  have  been 
found  somewhere  in  the  book ;  but,  in  any  event,  that  would  not  change 
the  conviction  based  upon  examination  of  the  plates.  The  small  engrave 
ings,  with  the  first  four  lines  of  the  fables,  are  set  in  borders  decorated  with 
pilasters  and  pediments  in  the  master's  style,  and  illustrated  at  the  base 
with  tiny  drawings  of  amorous  subjects,  treated  with  his  somewhat  heavy/ 
handed  delicacy. 

'There  came  from  Tory's  establishment,  in  the  later  years,  many  en^ 
gravings  of  blended  types  which  can  be  attributed  to  none  but  pupils, 
or  even  apprentices ;  analysis  will  always  be  impossible ;  when  we  have 
cast  a  light  upon  the  head  of  a  school,  we  must  leave  the  tail  to  languish 
in  the  shadow.  I  will  mention  here,  however,  one  pupil  of  Geofroy  Tory, 
whom  M.  Bernard  does  not  mention,  namely,  Francois  Gryphe,  brother 
of  Sebastien  Gryphe  of  Lyon.  He  engraved  and  printed,  in  1539,  a  New 
Testament  which,  as  very  rarely  happens,  mentions  the  engraver  of  the 
plates  on  the  title-page  as  well  as  in  the  privileges  from  the  King  and  the 
Parliament  which  stand  at  the  beginning  and  end  of  the  book  respectively. 
"Novum  testamentum  illustratum  insignium  rerum  simulacris,  cum  ad 
veritatem  historic,  tum  ad  venustatem,  singulari  artificio  expressis."  (Here 
the  mark  of  the  griffin.)  "Excudebat  Fran.  Gryphius,  an.  mdxxxix."  And 
in  the  privilege:  "Francoys  Gryphius,  bookseller,  printer  and  tradesman, 
commorant  in  Paris . . .  prayed  that  he  be  permitted  to  cause  to  be  printed 
and  sold  the  New  Testament,  illustrated  by  him." 

'  The  volume  is  a  small  octavo ;  the  Lorraine  cross  does  not  appear,  but 
there  is  a  letter  L  engraved  by  Tory,  and  a  series  of  small  plates  executed 
with  a  delicacy  instinct  with  firmness,  in  accordance  with  types,  attitudes 
and  rules  which  can  belong  to  no  other  school  than  his.' ' 

I .  I  saw  this  volume  at  M .  Potier' s  book-shop  ini865;itisai6mo,  illustrated  with  a  large 
number  of  fascinating  engravings  which  would  assuredly  do  much  honour  to  Tory.  I  freely  admit 
that  Francois  Gryphe  was  a  pupil  of  our  artist,  but  that  is  all.  I  do  not  understand  why  M.  Ren- 
ouvier  attributes  to  Tory  a  small  plate  of  no  interest,  when  the  privileges  expressly  attribute  all  the 
engravings  to  Gryphe. 


208 


GEOFROY  TORY 


1536 

I.  HOR^  IN  LAUDEM  BEATISSIME  VIRGINIS  MaRL^I  AD  USUM  ROTHOMA/ 

GENSEM.  PaRISIIS,  AD  INSIGNE  VaSIS  EfFRACTI,  1536. 

Small  octavo,  roman  type,  line  engravings.' 

II.  Lazarii  Bayfii  annotationes,  etc. 
Quarto,  Robert  Estienne,  1536. 

Charles  Estienne,  brother  of  the  printer,  who  seems  to  have  been  the 
editor  of  this  book,  informs  us,  in  a  brief  preface,  that  the  drawings  scat" 
tered  through  it  were  taken  by  him  from  ancient  monuments,  and  espe/ 
daily  from  marbles  still  extant  at  Rome.  Several  of  the  plates  bear  the 
Lorraine  cross,  Robert  Estienne's  mark,  on  the  title-page ;  also  the  engrav/ 
ing  on  page  19  of  'De  re  navali'  (repeated  on  page  168),  and  those  on 
pages  4,  44  and  64  of  *  De  re  vestiaria '.  All  the  other  engravings,  although 
not  signed,  probably  came  from  Tory's  workshop.  This  book  was  re/ 
printed  by  Robert  Estienne,  in  1549,  in  the  same  form.  Here  is  a  sum" 
marized  list  of  the  engravings  contained  in  it :  In  the  first  part, '  De  re 
navali,'  are  some  twenty  representations  of  antique  vessels,  biremes,  tri" 
remes,  etc.,  of  which  one  is  signed ;  in  the  second  part, '  De  re  vestiaria,' 
three  are  signed :  (i)  a  woman ;  (2)  a  man ;  (3)  a  soldier ;  in  the  third  part, 
*  De  vasculis,'  are  eight  or  ten  representations  of  vases,  etc.,  not  signed. 

All  these  engravings  were  reproduced  on  copper  in  a  reprint  of  Baif 's 
work,  published  in  Graevius's  great  collection  called  the  <  Treasure  of  An" 
tiquities,""  and,  strangely  enough,  the  artist  has  left  the  Lorraine  cross  on 
thefirst.3  This  mark  appears  again  in  column  11 00  of  the  same  volume,  in 
an  analogous  work  by  another  author.  The  same  engraving  was  reen" 
graved  on  copper,  with  the  cross,  for  the  edition  of  Grsvius's '  Thesaurus,' 
published  at  Venice  in  1 73  2,  after  the  edition  of  Utrecht.  This  later  edi" 
tion  was  like  the  earlier  one,  and  the  engraving  in  question  appears  in 
the  same  volume  and  same  column.  So  that  we  have  an  engraving  on 
copper,  with  the  Lorraine  cross,  executed  in  the  eighteenth  century ! 

1.  Brunet,  Manuel duLibraire,  5th edition,  vol.  v,  col.  1660,  no.  328.  The  line  engravings 
are  doubtless  those  of  the  1 6mo  Hours  of  1529  (seep.  125  supra).  As  for  the  borders,  which 
M.  Brunet  does  not  mention,  I  imagine  that  they  are  the  same  thatlspokeof  on  p.  128.  Butsee 
no.  Ill,  under  the  year  1  541  (infra,  p.  218). 

2.  Thesaurus  antiquitatum  romanarum,  etc.,  a  J.  C.  Graevio;  folio,  Utrecht,  1697.  M. 
Olivier  Barbier,  sub-manager  of  the  Bibliotheque  Nationale,  owns  the  copy  of  the  original  edi- 
tion which  was  used  for  this  reprint.  It  contains  not  only  the  additions  that  were  made,  but  also 
directions,  in  Dutch,  concerning  the  size  of  the  copper-plates,  etc. 

3.  See  vol.  vi,  col.  562. 


I.  HOR^  IN  LAUDEM  BEATISSIM^  ViRGINIS 

Mari^,  ad  usum  Romanum.  —  Parisiis, 
apud  Simonem  Colinsum,  1543. 
Large  quarto  of  44  sheets,  in  22  signatures 
of  2  sheets,  encartees,  A  to  Y.  On  the  verso 
of  the  utle/page  is  a  table  of  Easter^Days 
from  1543  to  1566;  then  comes  the  calendar, 
which  fills  the  next  six  sheets.  There  are  in 
the  text  fourteen  large  engravings,  with  a  \ 
special  border :  — 

1.  St.  John  writing  his  Gospel  (which  be^ 
gins  on  the  following  leaf ).  He  is  gazing  at 
the  Virgin,  who  appears  to  him  in  the  sky, 
holding  the  Child  Jesus. 

2.  Jesus  betrayed  by  Judas. 

3.  The  Salutation,  with  this  device  in 
French :  '  Fait  ce  que  tu  vouras  avoir  fait 
quant  tu  moras.'  ['Do  what  thou  wouldst 
have  done  when  thou  diest.'] 

4.  The  Visitation  (signed). 


5.  The  Birth  of  Jesus. 

6.  The  Annunciation  to  the  Shepherds 
(with  the  date  1537). 

7.  The  Adoration  of  the  Magi  (signed). 

8.  The  Circumcision  (signed). 

9.  The  Flight  into  Egypt. 

10.  The  Death  of  Mary  (signed). 

1 1.  Jesus  on  the  Cross  (signed). 

12.  The  Descent  of  the  Holy  Ghost  upon 
the  Apostles  (signed). 

13.  The  Penance  of  David  (signed). 

14.  Jesus  restoring  Lazarus  to  life. 

All  the  pages  are  enclosed  in  borders,  but 
the  latter  are  of  two  sorts :  — 

I.  Eight  complete  borders,  that  is  to  say, 
thirty  two  compartments,  in  simple  line/ 
engraving  as  in  the  Hours  of  15  24-1 5  25.  A 
single  one  of  these  eight  is  signed ;  but  they 
are  all  by  the  same  artist.  They  bear  the  dates 
of  1536,  1537,  1539,  in  little  scrolls  of  the 
sort  to  which  Tory  was  so  much  addicted. 
These  dates  preclude  our  attributing  these 
engravings  to  himself,  but  they  evidently 


/J 


came  from  his  establishment  which  was  then 
conducted  by  his  widow.  One  of  these  bor^ 
ders  appears  in  a  book  published  in  1542 : 
'  Rodolphi  Ag^icola^ .  .  .  de  inventione  dia^ 
lectica,  Hbri  III,'  etc.  410,  Paris,  Simon  de 
Colines. 

2.  There  are  also  eight  complete  borders, 
or  thirty^two  compartments,  engraved  in 
black  in  an  entirely  different  style,  alternating 
with  those  engraved  in  line.  [Four  of  them 
are  reproduced  in  this  volume,  on  the  pages 
bearing  the  Author's  Preface.]  They  are  in 
niello,  are  neither  signed  nor  dated,  and  I 
doubt  whether  they  came  from  Tory's  work^ 
shop,  although  we  shall  see  that  he  engraved 
some  similar  ones  for  Jean  de  Tournes.  In  any 
event  their  inclusion  in  this  book,  side  by  side 
with  the  borders  and  drawings  engraved  in 
line,  seems  to  me  in  wretched  taste  which 
would  have  disgusted  our  artist. 

We  find  also  in  this  book  some  beautifril 
ornamental  letters  in  the  crible  style,  which 
may  be  Tory's. 


212 


GEOFROY  TORY 


The  book  was  reprinted  in  1549,  in  the  same  form,  by  Renaud  and 
Claude  Chaudiere,  successors  to  Simon  de  Colines. 

II.  In  the  same  year  1543,  Simon  de  Colines  published  another  book  of 
Hours,  octavo,  which  seems  to  be  a  smaller  edition  of  the  one  I  have  just 
described.  Like  that  one,  it  is  composed  of  22  signatures,  A  to  Y. 

The  title-page  reads:  Hok<ein  laudem  Deiacbeatissim^  Virginis 

MaRI^  ad  USUM  ROMANUM,  una  cum  CALENDARIO  RECENS  [sic]  EMEN' 

DATO.  This  within  a  portico^shaped  border,  at  the  top  of  which  is  the  name 
Simon  de  Colines.  At  the  foot  of  the  page:  'Parisiis,  apud  Simonem  Coli' 
naeum. — 1543.' 

As  in  the  quarto  Hours  of  the  same  date  the  borders  of  the  text  pages 
are  arabesques  of  two  styles,  some  in  line  and  the  others  in  black ;  and  the 
drawings,  to  the  number  of  13,  are  set  in  a  special  border.  Some  of  these 
borders  bear  the  date  1537,  and  one  of  them  has  the  name  Simon  de  Colines 
in  full,  which  proves  that  the  engravings  were  executed  for  him.  A  list  of 
the  drawings  follows ;  only  one  of  them  is  signed,  but  all  seem  to  be  the  work 
of  Tory. 

1.  St.  John  writing  his  Gospel  (signed). 

2.  Calvary, 

3.  The  Salutation. 

4.  The  Visitation. 

5.  The  Nativity. 

6.  The  Annunciation  to  the  Shepherds. 

7.  The  Adoration  of  the  Magi. 

8.  The  Presentation. 

9.  The  Flight  into  Egypt. 

10.  The  Coronation  of  the  Virgin. 

11.  Pentecost. 

12.  Bathsheba  at  the  Bath. 

13.  Job  on  the  Dunghill. 

The  only  copy  of  this  book  that  I  know  of  formerly  belonged  to  the 
late  M.  Renouvier,  of  Montpellier,  who  showed  it  to  me  in  1858.  It  lacks 
ten  leaves  immediately  following  the  title/page,  which  leaves  undoubtedly 
contained  the  calendar. 

1537 

I.  Les  Angoisses  et  remedes  damour  du  Traverseur  en  son  ado^ 
LESCENCE  (Jean  Bouchet). 


ICONOGRAPHY  213 

Quarto,  gothic  type,  printed  at  Poitiers,  January  8,  1536  (1537,  new 
style),  by  Jean  and  Engilbertde  Marnef.  The  privilege  is  dated  November 
15' 1536. 

There  are  two  woodcuts  signed  with  the  Lorraine  cross :  the  printers' 
mark,  on  the  first  page;  and,  at  the  end  of  the  preliminary  pages,  an  engrav/ 
ing  representing  a  man  in  a  long  robe  engaged  in  writing;  facing  him  and 
below  him  are  four  persons,  also  in  robes,  from  whom  he  is  apparently 
deriving  his  inspiration.  Near  these  latter,  at  the  left,  is  a  woman  holding  a 
light.' 

II.  Le  Jugement  poetic  de  l'honneur  feminin  . . .  PAR  LE  Traver/ 
SEUR  (Jean  Bouchet). 

At  the  end  are  these  words :  '  Imprime  a  Poictiers  le  premier  d'avril 
M.  D.  xxxviii,  par  Jean  et  Engilbert  de  Marnef,  fi^eres.'  This  volume,  which 
is  arranged  like  that  last  described,  contains  eleven  engravings,  five  of 
which  are  signed  with  the  double  cross. 

Folio  A  5  verso.  A  large  plate  representing  the  author  presenting  his 
book  to  Francois  I.  The  King  is  seated  on  his  throne  and  surrounded  by  his 
court.  (Signed  at  the  left:.) 

Folio  B  I  recto.  A  meeting  of  the  Parliament  of  Paris.  (Signed  at  the 
right.) 

Folio  B  4  recto.  Fame  announcing  the  demise  of  Louise  de  Savoie,  mo' 
ther  of  Francois  L  (Signed  at  the  left.) 

Folio  B  7  recto.  Mercury  on  his  way  to  the  field  of  Truth;  below, 
Charon  in  his  boat.  (Not  signed.) 

Folio  C  I  verso.  The  field  of  Truth.  Four  persons,  of  whom  three  are 
seated  in  a  sort  of  thicket ;  and  above  them,  a  chateau.  (Signed  in  the 
centre.) 

Folio  C  7  verso.  The  deceased  (Louise  de  Savoie),  her  head  encircled  by 
a  wreath  and  holding  in  her  right  hand  a  bunch  of  flowers.  (Signed  at  the 
right.) 

Folio  D  3  recto.  Fortune  holding  a  wheel  in  one  hand,  and  a  standard 
in  the  other.  (Not  signed.) 

Folio  D  6  verso.  Repetition  of  C  7. 

Folio  E  5  verso.  Mercury,  with  the  caduceus  in  his  hand,  speaking  to 
a  man  in  a  robe,  and  pointing  out  a  palace  to  him.  (Not  signed.) 
Folio  E  7  recto.  A  large  hall  adorned  with  statues.  (Not  signed.) 

I .  Another  edition  of  this  book  was  published  by  the  same  printers  and  with  the  same  wood- 
cuts, in  1545. 


214  GEOFROY  TORY 

Folio  L  8  verso.  A  winged  personage,  wrapped  in  a  cloak,  and  having 
eyes  in  his  hands  and  feet.  (Not  signed.) 

At  the  end  of  the  volume  the  mark  of  the  Marnefs.  (Signed.) 

1538 

Missal  OF  Paris,  1539 ;  folio.  The  Lorraine  cross  on  two  large  folio  plates, 
one  of  which,  dated  1 53  8,  represents  God  the  Father  seated  on  his  throne,  his 
head  surrounded  by  a  halo ;  he  is  dressed  like  the  Pope ;  over  his  head,  a  tri^ 
angular  pediment.  The  other,  not  dated,  represents  Christ  on  the  Cross ; 
the  Blessed  Virgin  and  St.  John  are  standing  at  his  sides,  and  this  inscrip/ 
tion  is  printed  in  a  semicircle  over  the  cross :  '  Absit  michi  gloriari  nisi  in 
crvce  D[omi]ni  n[ost]ri  Jesvs  Christi.' 

These  two  subjects,  which  are  often  found  in  collections,  sometimeson 
paper  and  sometimes  on  vellum,  sometimes  black  and  sometimes  coloured 
(the  mark  and  the  date  very  often  disappear  under  the  colours'),  were  first 
printed,  so  far  as  my  knowledge  goes,  in  the  Missal  of  Paris,  published  in 
1539  by  Thielman  Kerver's  widow.  There  follows  a  description  of  this 
priceless  volume,  of  which  I  know  but  one  copy  in  Paris.^  It  is  entitled: 
*  Missale  ad  usum  Ecclesias  Parisiensis,  noviter  impressum,  et  emendatum 
perdeputatosareverendissimo  domino  Johanne  de  Bellayo,  Parisiensi  epis' 
copo,'etc.  Then  comes  Thielman  Kerver's  usual  mark,  and  below :  •  Pros' 
tat  Parisiis  in  vico  divi  Jacobi,  apud  lolandam  Bonhomme,  vidue  spectati 
viri  Thielmanni  Kerver,  ad  signum  Unicornis,  ubi  et  excusum  fiiit,  anno 
Domini  m.  d.  xxxix.' 

This  work  makes  a  large  folio  volume,  printed  in  red  and  Wack,  in  gothic 
type,  with  a  large  number  of  unsigned  engravings  in  the  text.  These  en'' 
gravings  are  of  three  sorts, — (i)  floriated  letters  on  a  black  ground;  (2) 
small  drawings  of  the  same  size,  but  of  a  very  graceful  renaissance  type  1(3) 
drawings  of  octavo  size,  which  were  commonly  used  by  Thielman  Ker^ 
ver's  widow  in  the  books  of  Hours  published  by  her,  and  of  which  I  have 
already  had  occasion  to  speak.^ 

The  two  large  drawings  signed  with  the  Lorraine  cross  face  each  other 
in  signature  V,in  the  second  part  of  the  book,  where  the  pagination  is  dis-' 
continued.  They  have  been  reprinted  several  times  in  other  editions  of  the 
same  book.  I  will  mention  particularly  the  edition,  undated,  published  in 

1 .  Sometimes,  too,  the  colourist  has  substituted  for  the  printed  date  that  at  which  he  did  his 
work.  I  have  seen  several  cases  of  such  substitution. 

2.  Bibliotheque  de  r  Arsenal. 

3.  See  pp.  149  and  205,  supra. 


ICONOGRAPHY  215 

the  name  of  Guillaume  Merlin,  bookseller,  a  copy  of  which  is  in  the  Bib' 
liotheque  Mazarine' ;  that  of  1543,  at  the  Bibliotheque  Sainte/Qenevieve ; 
that  of  1559  (all  published  by  lolandeBonhomme  or  her  son  Jacques  Ker^ 
ver) ;  and  lastly  a  Missal  of  Cluny,  of  which  I  shall  speak  later. 

Although  these  books  are  printed  on  paper,  the  plates  in  question  are 
always  printed  on  vellum  in  editions  of  the  sixteenth  century ;  but  this  pre^ 
caution  was  neglected  in  later  centuries. 

1538-1540 

Latin  Bible  in  two  folio  volumes,  bearing  the  dates  1538,  1539, 1540. 
Paris,  Robert  Estienne.  The  word  ♦  Biblia '  appears  on  the  title-page  in  a 
scroll  signed  with  the  Lorraine  cross,  of  which  I  have  already  had  occa' 
sion  to  speak,  under  the  date  of  1532,  and  which  appears  in  others  of 
Robert  Estienne's  books.^  The  second  title  follows:  'Hebraa,  chaldaea, 
graca  et  latina  nomina . . .  restituta  cum  latinainterpretatione.'  This  has  led 
some  bibliographers  to  assume,  erroneously,  that  the  book  was  a  polyglot 
affair.  It  is  printed  throughout  in  Latin ;  there  are  simply  a  few  Hebrew 
words  in  the  dissertation  to  which  the  second  title  in  question  applies, 
and  which  is  printed  in  the  second  volume,  with  a  title^^page  of  its  own, 
dated  1538.  The  New  Testament,  also  in  the  second  volume,  is  dated  1539, 
not  1540,  as  M.  Renouard  mistakenly  says.3  The  Bible  alone,  that  is  to 
say,  the  first  volume  and  the  beginning  of  the  second,  bears  the  date  1540. 
In  each  part  we  find  Robert  Estienne's  large  mark,  signed  with  the  Lor^ 
raine  cross.  The  first  volume  contains  also  eighteen  magnificent  engrav/ 
ings  representing  the  Tabernacle  of  Moses,  Solomon's  Temple,  etc.,  exe^ 
cuted  under  the  direction  of  Frangois  Vatable,  Royal  Professor  of  Hebrew 
Literature.  The  Lorraine  cross  appears  on  the  large  plate  of  the  camp  of 
the  Israelites,  on  folio  35 ;  but  I  dare  not  upon  this  evidence  alone  attribute 
all  the  other  engravings  to  Tory.-^  In  any  event  the  floriated  letters  used  in 

1 .  The  title-page  of  this  rare  volume  reads :  Missale  ecclesie  Parisiensis  denuo  ab  aliquot 
ejusdem  ecclesie  canonicis  ac  doctor ibus  theologis  ad  id  a  reverendiss.  do.  Joan,  de  Bellayo  .  .  . 
delegatis.  .  .  .  Then  follows  Merlin's  mark,  signed  with  the  Lorraine  cross.  In  addition  to  8 
preliminary  leaves  this  volume  contains:  Calendarium  temporale,  signatures/?  to  v;  Sane  tor  ale, 
A  to  M  ;  Commun. ,  A  to  E,  gothic  ;  etc.  The  first  page  of  the  text  is  in  a  border  which  has  the 
Eternal  Father  at  the  top,  four  popes  at  the  sides,  and  at  the  foot  the  mark  of  the  widow  lolande 
Bonhomme,  with  the  unicorns.  The  volume  was  probably  published  about  i  540. 

2.  See  p.  204,  supra.  A  copy  of  this  frieze  —  a  slavish  imitation  —  in  which  even  the  Lor- 
raine cross  is  reproduced,  appears  in  a  Flemish  Bible,  folio,  printed  at  Antwerp  in  1556  (Bib- 
liotheque Nationale). 

3.  Annales  des  Estienne,  3d  edition,  p.  49. 

4.  The  cross  is  not  very  distinct  on  the  copies  of  1 540,  but,  strangely  enough,  it  is  perfectly 
clear  on  those  of  i  546.  —  These  engravings,  like  the  frieze  on  the  title-page,  have  been  copied 


2l6 


GEOFROY  TORY 


the  book  are  certainly  Tory's,  for  we  find  the  designs  mentioned  by  him  in 
his  'Champ  fleury.'  It  is  a  fact  worth  noting  that  these  letters  seem  to  have 
been  cast,  or,  at  least,  reproduced  by  stereotyping,  for  they  areoften  repeated 
on  the  same  page,  without  the  slightest  change  in  the  design. 

The  Bibliotheque  Nationale  has  a  superb  copy  of  this  book  on  vellum, 
with  the  arms  o£  Francois  I.  It  was  reprinted  in  the  same  shape  by  Robert 
Estienne  in  1546,  and  by  his  son  Henri  in  1565.  In  this  last  edition,  printed 
at  Geneva,  we  no  longer  find  the  two  small  drawings  which  appear,  with 
the  frieze, on  the  title/page  of  the  edition  of  1532.  (See  p.  204,  supra.)  The 
frieze  in  this  later  form  appears  in  other  books  of  the  Estiennes.  I  have 
seen  it  in  a  folio  Xenophon  printed  for  Fugger. 

1540-1548 

Amadis  de  Gaule,  French  translation  by  Nic.  de  Herberay,  Seigneur  des 
Essarts,  for  the  first  eight  books;  first  edition  printed  between  1540  and 
1 548,  by  Denis  Janot,  for  the  booksellers,  Vincent  Sertenas,  Estienne  Groul-' 
lau,  and  Jean  Longis.  Folio,  with  engravings. 

I  have  seen  only  two  of  these  engravings  signed  with  the  Lorraine  cross, 
but  several  others  seem  to  have  come  from  the  same  workshop.  The  great 
majority  of  them,  however,  are  of  another  make.  The  two  that  are  signed 
are :  ( I )  Book  11,  chap.  2,  a  large  plate  representing  a  sort  of  temple.  A  man 
armed  cap^a^pie  under  a  portico.  At  the  right  are  shields  hanging  upon 
posts ;  at  the  left,  a  man  kneeling  on  the  ground,  holding  a  naked  sword  in 
the  air  with  his  right  hand,  and  another  hand  grasping  it.  This  represents 
a  scene  from  the  'lie  Ferme.'  (2)  Book  vi,  chap.  56,  a  small  plate  repre^ 
senting  four  persons  on  horseback  near  a  chateau  in  fi^ont  of  which  stands 
an  armed  man.  This  cut  does  not  seem  to  have  any  connection  with  the  sub^ 
ject,  and  may  well  have  been  taken  from  another  older  work. 

There  is  a  copy  of  this  book  on  vellum  in  the  Bibliotheque  Nationale. 

1541 

I.  Praxis  criminis  persequendi,elegantibus  aliquot  figuris  illus/ 
TRATA,  Joanne  Milled  . . .  auctore. 

Folio;  Paris,  Simon  de  Colines,  15 41.  Some  copies  have  on  the  titles 
page  only  the  names  of  the  brothers  Arnould  and  Charles  les  Angeliers. 
(Bibliotheque  Nationale.) 

by  other  printers.  Such  copies  maybe  found  in  a  Bible  published  at  Lyon  in  i  5  50,  by  Sebastien 
Honorat,  and  in  another  published  in  1554  by  Jean  de  Tournes.  We  find  them  also  in  a  Bible 
published  at  Paris  in  i  586  by  Sebastien  Nivelle  and  Gabriel  Buon,  etc.,  etc. 


ICONOGRAPHY  217 

There  are  in  this  book  thirteen  large  folio  cuts,  besides  the  frontis/ 
piece.  A  single  one,  the  seventh,  is  signed,  but  all  are  by  the  same  hand. 
Following  is  a  description  of  them,  or,  rather,  a  brief  list;  for  a  description 
would  lead  us  into  too  minute  details : ' — 

1.  Several  men  slain  in  divers  ways,  on  a  public  square  where  there  is 
a  large  crucifix. 

2.  Examination  of  the  bodies  of  the  wounded  lying  in  a  room. 

3.  Examination  of  the  witnesses. 

4.  The  accused  summoned  by  public  outcry. 

5.  Arrest  of  the  accused. 

6.  Examination  of  the  accused. 

7.  Confirontation  of  the  witnesses  with  the  accused  (signed). 

8.  Ratification  of  decree  of  pardon. 

9.  Torture  by  water. 

10.  Torture  by  the  boots. 

1 1.  Torture  by  compressing  the  wrists. 

12.  Condemnation  of  the  guilty. 

13.  Execution  of  the  guilty. 

There  is  at  theBibliotheque  Nationale  a  magnificent  copy  of  this  book 
on  vellum,  with  the  arms  of  France  in  miniature  on  the  verso  of  the  title/ 
page. 

II.  The  first  volume  of  the  Catholiques  CEuvres  et  Actes  des 
Apostres,  by  Simon  de  Greban ;  followed  by  the  Mystere  de  l'Apo-' 
CALYPSE,  by  Louis  Choquet.  Printed  for  Arnould  and  Charles  les  Ange^ 
Hers,  May  27, 1541.  'On  les  vend  en  la  grand  salle  du  Palais,  par  Arnould  et 
Charles  les  Angeliers  freres.'  Folio;  Paris,  1541. 

This  work  is  embellished  with  engravings,  of  which  only  one  is  signed 
with  the  Lorraine  cross.  This  one,  which  is  on  folio  i  recto  of  the  Acts  of 
the  Apostles,  represents  the  descent  of  the  Holy  Ghost  upon  the  Apostles. 
It  is  enclosed  in  a  border,  of  octavo  size,  and  belongs  to  a  series  of  engrav-* 
ings  for  a  book  of  Hours  published  by  Guillaume  Merlin  in  1548.^  Theen^ 
graver's  mark  is  in  a  small  circle  at  the  lefiiof  the  foot  of  the  border.  Beside 
it  is  an  angel  holding  two  shields  in  which  are  the  letters  G.M.  (Guillaume 
Merlin).  The  frontispiece  of  the  Acts  of  the  Apostles  has  a  border  in  which 
is  the  date  1 537.  The  same  border  surrounds  the  frontispiece  of  the  Mystery 
of  the  Apocalypse,  but  there  it  is  without  the  date.  This  last-named  por/ 

1 .  See  concerning  this  book,  the  Revue  des  Societes  Savantes,  vol.  v,  pp.  624  fF.  The  author's 
name  was  Milles.  Some  information  concerning  him  is  given  in  the  Revue. 

2.  [See  p.  229,  infra]  . 


2l8 


GEOFROY  TORY 


tionof  the  volume  contains  13  engravings  and  a  border,  in  Tory's  style,  but 
without  the  Lorraine  cross.  One  of  them  bears  the  letters  P.  R.  There  is  a 
copy  at  the  Bibliotheque  Nationale. 

III.  Hours  of  the  Virgin,  octavo,  in  roman  type,  but  with  the  borders 
*a  la  moderne'  described  on  page  128,  supra. 

This  book,  printed  by  Olivier  Mallard  in  1541,  was  copied  doubtless 
from  the  edition  made  by  Tory  about  153 1,  which  I  have  been  unable  to 
examine.  Mallard's  edition,  of  which  I  have  seen  a  copy  on  vellum,  belong' 
ing  to  M.  Emilien  Cabuchet,  the  painter,  and  another  on  paper,  consists  of 
twenty^three  octavo  signatures,  A  to  Y.  The  title^age  reads :  Hor^  in 
LAUDEM  BEATissiM.  ViRGiNis  Mari^,ad  usum  romanum.  (Here  the  Pot 
Casse.)  Parisiis,apud01iverium  Mallardum,subsigno  Vasis  Effracti,  1541. 
The  last  page,  on  which  is  printed  a  curious  'prescription  against  the 
plague,'  ends  thus : '  Excudebat  Parisiis  Oliverius  Mallard,  bibhopola  re-- 
gius,  sub  signo  Vasis  Efiracti.' . . . 

In  this  edition  there  are  1 6  different  borders ;  each  leaf  has  the  same 
border  on  both  recto  and  verso.  There  are  also  1 6  of  the  engravings  of  the 
sixteenmo  Hours  of  1529,  those  not  reproduced  being  nos.  i,  19  and  21  of 
that  edition. 

The  word  *  Rom.'  printed  on  the  first  page  of  each  signature  leads  me 
to  believe  that  Mallard  published  at  the  same  time,  in  the  same  format,  an 
edition  of  Hours  *  ad  usum  Parisianum,'  but  I  have  found  no  trace  of  such 
an  edition. 

After  Olivier  Mallard's  death,  which  occurred,  as  I  have  said  hereto^ 
fore,  in  1542,  his  typographical  outfit  seems  to  have  been  acquired  by 
Thielman  Kerver  II  (son  of  the  first  Thielman  and  lolande  Bonhomme, 
who  lived,  as  did  his  father  before  him,  on  Rue  Saint-'Jacques) ;  for  he 
published  in  1550  a  book  of  Hours  similar  to  that  printed  in  1541  by  Mal^ 
lard.  It  contains  the  same  borders  and  the  same  drawings,  but  in  a  differ/ 
ent  arrangement.  The  borders  have  been  lengthened  by  means  of  a  most 
ungraceful  addition  to  the  side^pieces ;  as  for  the  drawings  in  two  parts, 
no  pains  has  been  taken  to  place  the  parts  facing  each  other,  so  that  their 
meaning  would  be  uncertain  if  we  had  no  other  editions  of  the  engrave 
ings.  In  fine,  this  book  is  very  imperfect.  It  consists  of  twentytwo  and  a 
half  signatures,  A  to  Y.  The  title-page  reads  thus:  — 

HOR^  IN  LAUDEM  BEATISSIMv^;  ViRGINIS  MaRI^  AD  USUM  ROMA' 

NUM.  (Here  the  mark  of  Thielman  Kerver,  with  the  Lorraine  cross.) '  Par/ 
isiis,  apud  Thielmannum  Kerver,  vico  sancti  Jacobi,  sub  signo  Gratis. 


ICONOGRAPHY  219 

M.  D.  L.'  The  book  closes  with  the  curious  'prescription'  found  in  Oli/ 
vier  Mallard's  edition  of  1541,  which  is  in  these  words: '  Approbatissima 
medicina  contra  pestem.  —  Recipequantum  potes  de  amaritudine  mentis 
contra  peccata  commissa,  cum  vera  cordis  contritione,  potius  libram  quam 
unciam.  Haec  misceantur  cum  aqua  lacrymarum,  et  facies  vomitum  per 
puram  confessionem.  Deinde  sumas  illud  sacratiss.  electuarium  corporis 
Christi,  et  tutus  eris  a  peste.' 

The  book  is  printed  in  red  and  black.  I  have  seen  a  copy  on  paper  at  M. 
Potier's  bookshop.  There  is  an  imperfect  copy  at  the  Bibliotheque  Maza^ 
fine,  and  a  perfect  one  at  Sainte^Genevieve. 

About  the  same  time  there  was  published  a  small  duodecimo  volume 
of  four  signatures,  in  French,  with  the  same  borders.  It  begins  thus : '  Here 
follows  the  method  of  receiving  the  blessed  sacrament  devoutly.'  It  is  like 
the  book  last^described  except  that  it  is  printed  in  only  one  colour,  and  that 
it  is  a  little  longer  and  wider.'  To  lengthen  the  borders,  sections  have  been 
added  tothem.  It  is  most  peculiar  that  a  duodecimo  volume  should  be  lar^ 
ger  than  an  octavo,  but  the  fact  is  unquestionable:  formats  were  already 
beginning  to  increase  in  size.  Near  the  end  of  the  book  is  a  little  treatise 
with  this  heading:  'Here  follows  a  devout  meditation  as  to  the  manner 
in  which  thou  shouldst  ordain  and  arrange  the  whole  day,'  etc.  And 
after  that :  'The  Hfe  of  Madame  Sainte-- Marguerite,  with  prayer  to  be 
said  for  women  pregnant  and  in  travail.' 

This  book  is  in  the  Bibliotheque  Mazarine,  in  the  same  collection  as  the 
last.  It  contains  four  small  engravings,  of  which  only  one  seems  to  me  to 
belong  to  Tory :  it  is  the  Christ  on  the  Cro^.  which  appears  in  the  quarto 
Hours  of  1542,  now  to  be  described. 

1542 

I.  Hours,  according  to  the  Roman  use,  quarto,  in  Latin,  published  by 
Olivier  Mallard  in  1 542.  This  rare  volume,  of  which  I  know  only  one  copy, 
belonging  to  M.  Aerts,  of  Metz,^  who  himself  kindly  brought  it  to  me  at 
Paris,  is  a  reproduction  of  the  Hours  printed  by  Tory  in  1531 ;  the  type, 
however,  is  smaller.  It  consists  of  nineteen  signatures  of  two  quarto  sheets 
encartees,  signatures  A  to  T.  The  title-page  reads:  HORAE  in  laudem 

BEATISS.  ViRGINIS  MARm  Ad  USUM  RoMANUM.  OfFICIUM  TrIPLEX. — 

Parrhisiis,  apud  Oliverium  Mallard,  impressorem  Regium.  The  rest  is  as 

1.  I  have  seen  it  bound  with  a  book  of  Hours  published  by  Kerver  in  i  556:  M.  Portalis's 
copy. 

2.  It  has  since  been  sold  at  auction. 


220 


GEOFROY  TORY 


in  the  edition  of  1 53 1 .  On  the  last  page :  '  Parrhisiis,  exofficina  Oliverii 
Mallard,  Regii  impressoris,  Ad  insigna  Vasis  Effracti.  Anno  salu.  m.  d. 
XLii.  Mense  Augusti.'  Then  come  the  two  lines :  — 

*  Effracti,  lector,  subeas  insignia  vasis, 
Egregios  flores  ut  tibi  habere  queis.' 

The  table  of  Easter^Days,  on  the  verso  of  the  title-page,  goes  from  1542  to 
1571 ;  then  comes  the  calendar,  in  which  the  order  of  the  edition  of  153 1 
has  been  followed  in  the  arrangement  of  the  borders,  although  the  type, 
being  smaller,  would  have  permitted  the  more  regular  arrangement  of  the 
edition  of  1524-25. 

The  book  is  printed  in  two  colours,  except  signatures  B,  C,  and  D, 
which  are  in  black  only  —  a  most  unusual  state  of  things.  The  engravings 
are  the  same  as  those  of  the  edition  of  1531,  but  the  floriated  letters  are 
different.  The  Passion,  which  begins  on  foHo  B  3  verso,  is  enriched  by  the 
small  Christ  on  the  Cross  which  we  find  in  the  Hours  of  15  29,  but  without 
the  four  additional  subjects  (bees,  etc.),  which  there  accompany  it.'  It  is 
probable  that  some  accident  happened  to  the  plate,  and  that  only  the  Christ 
was  saved.  We  find  also  in  this  volume,  at  the  foot  of  the  border,  the 
crowned  C  of  Queen  Claude  of  France,  who  had  then  been  dead  about 
fifteen  years. 

The  Lorraine  cross,  which  had  disappeared  fi'om  several  of  the  larger 
engravings  as  early  as  the  edition  of  1531,  appears  on  almost  none  of 
them  in  that  of  1542.  For  example,  it  has  been  expunged  from  the  Birth 
of  Jesus  and  the  Circumcision.  The  only  ones  which  retain  it  are  the  Visi/ 
tation,the  Crucifixion,  and  the  Descent  of  the  Holy  Ghost.  It  remains  on 
the  borders  also. 

Signature  E  begins  with  a  leaf  the  recto  of  which  is  blank,  while  on  the 
verso  is  the  angel  of  the  Annunciation,  as  in  the  edition  of  153 1.  The  large 
plate,  the  Triumph  of  the  Virgin  Mary,  is  also  included  in  this  editioa 

II.  HORE  BEATE  MaRIE  ViRGINIS  AD  USUM  FRATRUM  PREDICATORUM 
ORDINIS  SANCTI  DOMINICI:  FIGURIS  UTRIUSQUE  TeSTAMENTI  AC  PER/ 
VENUSTIS  IMAGINIBUS  ET  IIS  QUIDEM  NGN  FAUCIS,  PASSIM  DECORATE, 
ATQUE  OFFICIO  CONCEPTIONIS  IMMACULE  ViRGINIS  ET  OFFICIO  SANCTI 
DOMINICI  IN  ALUS  ORARIIS  ACTENUS  IMPRESSUS  NEQUAQUE  INSERTIS 

AD  AUCTE.  (Here  the  figure  of  St.  Dominic  holding  an  open  book  in  his 
left  hand,  and  in  the  right  a  staff  with  the  cross  at  the  end.  At  his  feet 
lies  a  dog.  The  Lorraine  cross  is  at  the  left.)  Venundantur  Parisiis,  in  edi^ 

I .  [See  p.  I  I  5  supra.] 


ICONOGRAPHY 


221 


bus  vidue  spectabilis  viri  Thielmaniii  Kerver,  in  vico  divi  Jacobi,  sub 
signo  Unicornis,  ubi  et  impresse. — m.  d.  xlii.' 
Octavo ;  signatures  A  to  X,  and  a  toe:  in  all,  26  forms.  The  title-page 
engraving  reappears  on  leaf  R  4  verso.  The  others  are  not  signed. 

III.  Heures  a  l'usage  de  Tool:  au  long  sans  requerir. 

Octavo  of  156  unpaged  leaves.  Calendar  from  15 41  to  1564.  At  the 
bottom  of  the  last  page  are  the  words :  '  Imprime  a  Troyes  chez  Jean 
Lecoq.'  Gothic  type,  printed  in  red  and  black. 

The  only  copy  of  this  book  that  I  have  seen  is  in  the  Bibliotheque 
Publique  of  Besan^on.  It  has  30  engravings,  including  the  printer's  mark, 
which  is  on  the  title-page.  The  mark  and  three  other  engravings  of  the 
first  series  are  signed  with  the  Lorraine  cross.  A  list  of  all  the  engravings 
follows :  — 

First  series,  .06  mm.  by  .043  mm. 

1.  Printer's  mark  (signed). 

2.  Jesus  in  the  Garden  of  Olives  (signed). 

3.  Annunciation  of  the  Virgin. 

4.  The  Visitation. 

5.  The  Nativity. 

6.  Adoration  of  the  Shepherds. 

7.  Adoration  of  the  Magi. 

8.  The  Presentation  in  the  Temple. 

9.  Massacre  of  the  Innocents. 
ID.  Death  of  the  Virgin  (signed). 

11.  The  Crucifix. 

12.  Pentecost. 

13.  Bathsheba  at  the  Bath  (signed). 

14.  Resurrection  of  Lazarus. 

1 5.  Vision  of  St.  Gregory. 

Second  series,  .034  mm.  by  .022  mm. 

1.  The  Trinity. 

2.  Death  piercing  with  a  Spear  the  Great  Men  of  Earth. 

3.  St.  Anne. 

4.  AU  Saints. 

5.  Ecce  Homo. 

6.  The  Virgin. 


222 


GEOFROY  TORY 


7.  The  Beheading  of  St.  John  Baptist. 

8.  St.  Sebastian. 

9.  St.  Nicholas. 
ID.  St.  Martin. 

11.  St.  Catherine. 

12.  St.  Barbara. 

13.  Our  Lady  of  Pity. 

14.  Virgo  Gloriosa. 

15.  Our  Lady  of  the  Seven  Sorrows. 

IV.  Dyalogue  instructoire  des  chrestiens  en  la  foy,  esperance 

ET  AMOUR  DE  DiEU  COMPOSE  PAR  FRERE  PlERRE  DORE,  DOCTEUR 

EN  theologie.  .  .  .  Imprime  nouvellement  par  Denys  Janot,  demour^ 
ant  en  la  rue  Neufve  Nostre  Dame,  a  I'enseigne  Sainct  Jehan  Baptiste, 
pres  Saincte  Geneviefve  des  Ardens. 

Sixteenmo,  1542.  On  the  verso  of  the  title-page  is  an  engraving  signed 
with  the  Lorraine  cross.  It  represents  the  Virgin  standing  on  a  crescent, 
holding  the  child  Jesus  in  her  arms,  and  surrounded  by  a  halo.  (Biblio/ 
theque  Nationale.) 

1543-1544 

SOMMAIRE  DE  CHRONIQUES,  CONTENANS  LES  VIES,  GESTES  ET  CAS  FOR' 

TuiTZ  DE  Tous  LES  EMPEREURS  d'Europe,  ctc.  By  J.  B.  Egnatius, 
translated  by  G.  Tory.' 

There  were  several  other  editions  of  these  chronicles.  M.  Hippolyte 
Boyer  mentions  one  of  1541,  in  his  *  Histoire  des  Imprimeurs  et  Libraires 
de  Bourges'  (8vo,  Bourges,  1854),  p.  27;  Antoine  du  Verdier,  another,  of 
1543,  in  his  Bibliotheque  fran^oise.  This  much  is  certain — that  M.  Renou^ 
vier  owned  a  copy,  with  illustrations,  dated  1544.  It  is  an  octavo, '  for  sale 
by  Charles  I'Angelier,  in  the  "grand'salle du  Palais."  '  It  contains  1 1 2  leaves 
(signatures  A  to  O),  plus  4  unnumbered  leaves.  The  engravings  are  of  two 
sorts:  the  first  represents  an  emperor  on  horseback,  carrying  a  battle-axe; 
there  is  no  mark,  but  it  is  engraved  with  much  delicacy  and  distinguished 
by  the  little  cartouches  of  which  Tory  was  so  fond ;  this  figure  is  reproduced 
several  times.  The  others  are  busts  of  emperors,  roughly  engraved,  which 
cannot  be  Tory's.  It  may  be  noted  that  the  edition  published  by  Tory  in 
1530  contains  no  engravings. 

I .  See  what  I  have  had  to  say  concerning  this  book,  pp.  88-9 1 ,  supra. 


ICONOGRAPHY 


223 


1545 

De  Dissectione  partium  corporis  humani,  etc.  By  Charles  Estienne. 
Folio,  Simon  de  Colines,  1545. 

There  are  in  this  book  about  sixty  large  anatomical  plates.  Five  are 
signed  with  the  Lorraine  cross — folios  149, 150,  151,  154,  155.  The  last 
four  bear  also  the  name  of  Jollat,  with  the  dates  1530, 153 1, 1532.  Here  is 
what  M.  Renouvier  has  to  say  on  the  subject :  'Simon  de  Colines . . .  em/ 
ployed  another  wood-engraver  of  some  note,  Mer  cure  Jollat,  to  whom  Papil' 
Ion  attributed  almost  all  of  our  gothic  books  of  Hours.  He  should  be  reck" 
oned  only  among  the  engravers  of  an  altogether  modernized  manner.  His 
name  is  written  lollat,  the  first  letter  in  the  zodiacal  sign  of  Mercury,  fol" 
lowed  by  the  dates  1530, 153 1,  and  1532,  and  accompanied  by  the  Lorraine 
cross,  on  four  plates  of  Charles  Estienne's  book  on  the  dissection  of  the  hu" 
man  body,  representing  the  cadaver  in  its  skin  and  the  cadaver  with  the  skin 
removed.  The  drawing  of  the  figures  has  been  attributed,  even  by  Brulliot, 
to  Woeiriot ;  but  it  is  really  the  work  of  the  surgeon  Estienne  Riviere,  who 
is  named  on  the  title-page  and  in  the  preface  as  the  painter  of  the  bones, 
ligaments,  and  all  the  anatomical  details.  His  initials,  S.  R.,  appear  on  a 
tablet  hanging  from  the  branches  of  a  tree  in  the  first  plate.  The  engraving, 
which  varies  considerably,  would  seem  to  be  the  work  of  different  hands, 
or,  at  least,  to  have  come  from  an  establishment  which  practised  diverse 
styles  and  which  sometimes  put  forth  work  done  by  apprentices.  The  work" 
manship  of  the  plates  with  Jollat's  mark  seemed  to  me  more  monotonous 
— not  unskilful  although  less  picturesque.  I  am  not  now  passing  upon  their 
scientific  merit,  but  upon  their  picturesque  interest  simply.' ' 

The  inscription  of  Jollat's  name  on  plates  marked  with  the  Lorraine 
cross  seems,  at  first  glance,  quite  hard  to  explain,  especially  with  the  gen" 
eral  opinion  concerning  the  former  of  these  artists,  based  on  PapUlon's 
statements.  But  as  the  story  of  Jollat's  work  as  an  engraver  still  remains 
to  be  told,  I  think  I  may  safely  say  that  he  simply  designed  the  plates  that 
bear  his  name  in  Charles  Estienne's  book,  and  that  they  were  engraved  by 
Tory,  or,  at  least,  in  his  workshop.  We  have  seen,  in  fact,  that  Tory  was 
Simon  de  Colines'  favourite  engraver.  To  be  sure,  M.  Renouvier  seems  to 
be  of  opinion  that  all  the  plates  were  designed  by  Estienne  Riviere,  whence 
he  concludes  that  the  engraving  is  by  Jollat ;  but  this  is  a  mistaken  opinion, 
based  on  a  sentence  in  the  preface.  Riviere,  who  was  a  friend  of  Charles  Es" 
tienne,  may  have  designed  the  majority  of  the  plates  in  Charles  Estienne's 

I.  Renouvier,  Des  Types,  etc.,  i6th  century,  p.  i68. 


224  GEOFROY  TORY 

book,  and  yet  not  have  designed  all  of  them.  Those  signed  Jollat  evidently 
belong  to  that  artist,  who  seems  to  have  designed  a  number  of  them  before 
the  work  was  placed  in  Riviere's  hands. 

I  am  confirmed  in  my  belief  that  Jollat  was  the  designer  of  the  plates 
in  question  by  the  fact  that  his  name  is  always  accompanied  by  the  dates, 
and  that  those  dates  are  not  those  of  the  engraving,  which  I  propose  to 
prove.  There  are  only  five  plates  signed  with  Jollat's  name  and  with  the 
Lorraine  cross  in  the  Latin  edition  of  Charles  Estienne's  book,  published 
by  Simon  deColines  in  1545.  In  the  following  year  the  same  printer  issued 
a  French  edition  of  this  work,  under  the  title, '  La  Dissection  des  parties 
du  corps  humain'  (folio,  1 546),  in  which  we  find  two  additional  plates  so 
marked  and  dated  1532.  Why  did  not  these  plates  appear  in  the  first  edi' 
tion,  if  they  were  engraved  by  Jollat  ? 

But  here  is  another  fact  even  more  conclusive.  In  1 5  75  the  bookseller 
Jacques  Kerver  published  a  volume  of  engravings  without  text,  entitled 
*  Les  Figures  et  portraicts  des  parties  du  corps  humain '  (folio) ,  in  which  we 
find  not  only  the  seven  engravings  with  the  cross,  of  the  edition  of  1546, 
but  three  others,  also  bearing  Jollat's  mark  and  the  Lorraine  cross,  and 
dated  1533.  Evidently  these  plates  appeared  in  some  earlier  edition,  un^ 
known  to  me,'  for  it  was  not  Kerver  who  had  them  engraved ;  he  simply 
made  use  of  the  woodcuts  of  which  he  had  become  the  owner.  But  why  did 
they  not  appear  in  the  edition  of  1546.?  That  is  a  matter  easily  explained. 

Charles  Estienne  informs  us  in  the  preface  to  his  book  that  the  print/ 
ing  was  well  advanced  in  1539,  but  that  it  was  interrupted  by  a  lawsuit. 
We  give  his  own  words  in  the  French  edition  of  1546:  'All  of  which 
things  were  well-nigh  finished  in  the  year  1539,  and  almost  so  far  as  the 
middle  of  the  third  book  printed,  when,  by  reason  of  a  suit  that  was  be/ 
gun,  we  were  forced  (to  your  great  discontent,  methinks)  to  lay  aside  this 
work  and  to  desist  from  the  completion  thereof ;  for  so  long  that  in  the 
mean  time  it  has  been  possible  for  many  others  to  invent  new  ideas  touch/ 
ing  this  matter,  and  to  make  use  at  their  will  of  many  sheets  filled  with 
our  writings ;  for  it  was  not  possible  for  the  printer  so  closely  to  safeguard 
his  book,  so  long  suppressed,  that  some  persons  curious  to  learn  of  novel 
things  might  not  take  away  some  sheets,  still  uncorrected,  and  send  them 
into  Germany.' 

Now  let  us  see  what  was  the  cause  of  this  suit.  Charles  Estienne  does 

I.  The  Bibliophile  Fmn^ais  (April  i  5,  1865)  mentions  an  edition  of  this  book,  with  the 
date  of  I  5  57.  I  regret  that  I  was  not  aware  of  it  before  the  above  paragraph  was  printed,  as 
I  should  have  cited  that  edition  in  preference  to  that  of  1575.  However,  it  is  unimportant,  as 
the  two  editions  are  identical  except  in  the  order  of  the  plates,  which  differs  slightly. 


ICONOGRAPHY  225 

not  inform  us,  but  it  has  been  disclosed  by  M.  Ambroise  Didot,  in  his 
'  Essai  sur  la  Gra vure. '  The  famous  Vesale  had  published  at  Venice,  in  1 5  3  8, 
through  the  printer  B.  Vitalis,  a  treatise  on  anatomy,  embellished  with 
numerous  plates,  which  was  copied  in  several  places,  and  notably  in  Paris, 
despite  the  privilege  granted  by  the  Republic.  Later,  wishing  to  issue  a 
new  and  improved  edition  of  his  book,  Vesale  applied  to  Oporin,  professor 
of  Greek,  and  printer  at  Basle,  to  whom  he  sent  his  plates,  which  had  been 
engraved  at  Venice  by  Calcar,  a  pupil  of  Titian.  In  1543  Oporin  finished 
printing  this  new  edition,  for  which  the  author  had,  no  doubt,  obtained 
privileges  from  various  sovereigns,  especially  from  the  King  of  France. 
This  seems  to  be  proved  by  the  suit  instituted  against  Charles  Estienne. 
That  is  why  the  latter  could  not  publish,  in  his  edition  of  1545,  all  the 
plates  which  he  had  had  made,  and  which  appeared  only  at  intervals  as  the 
date  of  Vesale's  privilege  was  left  behind.  As  we  have  seen,  he  gives  it  to 
be  understood  in  his  preface  that  it  was  he  who  was  robbed  in  Germany. 

As  this  is  a  favourable  opportunity,  I  will  say  a  few  words  concerning 
Jacques  Kerver's  publication,  of  which  I  have  never  seen  any  mention,' 
but  which  is  of  great  interest  to  us.  It  is  a  folio  volume,  containing  6 1  large 
plates  besides  a  considerable  number  of  small  ones.  There  is  no  other  text 
than  the  explanations  printed  on  the  plates,^  and  a  brief  note  to  the  reader, 
which  begins  thus : '  Friend  reader,  seeing  that  medicine  is  not  at  all  essen^ 
tial  to  preserve  the  health  and  to  banish  all  diseases,  which  often,  on  slight 
occasion,  assail  us,  and  that  anatomy,  or  the  description  of  the  parts  of  the 
human  body,  mainly  serves  us  therein,  I  have  determined  not  to  fail  to 
exhibit  them  to  you  here.'  We  give  a  description  of  those  plates  in  the  book 
which  are  of  interest  to  us. 

Plates  which  appear  only  in  Kervers  volume. 

I.  The  human  body  in  its  relation  to  the  signs  of  the  zodiac  (folio  A  2 
verso).  This  bears  Jollat's  name,  the  date  1533,  and  the  Lorraine  cross. 

2  and  3.  The  human  body  in  its  relation  to  the  seven  planets  (folio  A 
3  recto  and  verso).  These  two  bear  the  same  marks  as  the  preceding. 

Plates  which  appear  in  the  edition  of  1 546. 
4.  Skeleton  seen  from  the  left  side  (folio  1 1  of  the  edition  of  1546,  and 
A  3  verso  of  that  of  1575).  Jollat's  name,  the  Lorraine  cross,  no  date. 

1.  Neither  the  edition  of  1557  nor  that  of  1575  was  known  to  M.  Choulant,  who  pub- 
lished a  curious  monograph  concerning  works  with  anatomical  figures.  (  Geschichte  .  .  .  der 
anatomischen  abhildung;  quarto,  Leipzig,  1852.) 

2.  These  explanations  are  printed,  in  movable  type,  in  cartouches  inserted  for  that  purpose. 
The  type  is  different  in  all  four  of  the  editions  known  to  me. 


226 


GEOFROY  TORY 


5.  Skeleton  seen  from  the  right  side  (folio  11,  1546,  folio  A  5  verso, 
1575).  Jollat's  name,  the  date  1532,  and  the  Lorraine  cross. 

Plates  which  appear  in  all  three  editions. 

6.  Man  flayed,  front  view  (folio  149, 1545;  folio  151,  1546;  folio  B  2 
recto,  1575).  The  cross  alone. 

7.  Man  flayed,  right  side  (folio  150, 1545;  folio  152, 1546;  folio  B  2  verso, 
1575).  Jollat's  name,  the  date  1532,  and  the  Lorraine  cross. 

8.  Man  flayed,  rear  view  (folio  151,  1545;  folio  153,  1546;  foHo  B  3 
recto,  1575).  The  same  marks  as  in  the  last  case. 

9.  Man  in  his  skin,  front  view  (folio  154,  1545 ;  folio  160,  1546;  folio 
B  3  verso,  1575).  The  same  marks  as  in  the  last  case. 

ID.  Man  in  his  skin,  rear  view  (folio  155, 1545 ;  folio  161, 1546 ;  folio  B  5 
recto,  1575).  The  same  marks,  with  the  date  153 1. 

Many  others  of  the  plates  may  belong  to  Tory,  but  as  they  are  not 
marked,  I  shall  not  speak  of  them  here. 

Something  analogous  to  what  1  have  just  described  took  place  with 
reference  to  the  engravings  of  Tory's  Hours.  Having  become  the  prop 
erty  of  the  Kervers,  as  we  have  seen,'  they  were  used  by  them  for  a  long 
while.  We  shall  mention  later  the  octavo  Hours  published  by  Thielman  II 
in  1550, 1552,  and  1556,  in  which  he  utilized  the  woodcuts  of  the  edition 
published  by  Olivier  Mallard  in  1 5  4 1 .  His  son  Jacques  did  better  than  that : 
in  1574  he  published  a  large  octavo  edition  of  the  Hours  of  the  Virgin,  in 
which  he  used  the  woodcuts  of  the  quarto  editions  issued  by  Tory  him^ 
selfin  i524and  1527.  As  the  crosses  were  removed  in  almost  every  instance, 
one  might  have  some  right  to  deny  their  source,  were  not  the  books  pub-' 
lished  by  Tory  a  half  century  before,  at  our  hand  to  demonstrate  it.  Jacques 
Kerver's  book  being  rare,  and  of  a  date  subsequent  to  the  period  covered 
by  my  work,  it  seems  to  me  that  it  may  be  well  to  give  a  bibliographical 
description  of  it,  from  the  copy  owned  by  M.  Chedeau,  which  M.  Potier, 
bookseller,  has  kindly  furnished  me. 

'  OflEicium  beatcB  Marias  Virginis  nuper  reformatum  et  Pii  V,  pont.  max., 
jussu  editum. — Apudjacobum  Kerver,  viajacobea,  sub  insigni  Unicornis. 
— 1574.'  Large  octavo,  with  illustrations  from  the  quarto  edition  published 
by  Tory  in  1 5  2  4- 1 5  2  5 ,  surrounded  by  borders  taken  from  Tory's  quarto  edi^ 
tion  of  1527,  but  reduced  in  size,  mutilated,  transposed,  etc. 

Here  is  a  list  of  the  plates :  — 

I.  The  Annunciation  (two  plates). 

[i.  See  p.  41,  supra.  J 


ICONOGRAPHY  227 

2.  The  Salutation. 

3.  The  Nativity. 

4.  The  Adoration  of  the  Shepherds. 

5.  The  Adoration  of  the  Magi. 

6.  The  Circumcision. 

7.  The  Flight  into  Egypt. 

8.  The  Coronation  of  the  Virgin. 

These  eight  plates  are  repeated  three  times.  Then  come :  — 

9.  The  Triumph  of  Death. 

10.  David's  Penance. 

1 1.  Jesus  on  the  Cross. 

12.  Pentecost. 

Number  8  is  taken  from  the  quarto  Hours  of  1 5  2  7 ;  but  all  the  others  are 
intheHoursof  1524-1525.  Numbers  2  and  12  still  bear  the  Lorraine  cross. 

There  is  no  doubt  in  my  mind  that  the  Kervers  printed  also  the  quarto 
Hours  (1531)  which  I  mentioned  on  page  201,  and  in  which  we  find  the 
borders  of  the  Hours  of  1524-152  5,  and  the  porticoes  of  theopuscula  of 
1 530- 1 53 1.  The  plates  are  not  signed  and  cannot  be  Tory's,  but  as  a  list  of 
them  may  assist  in  the  discovery  of  this  edition,  I  will  mention  here  those 
which  are  at  the  Bibliotheque  Nationale:  — 

1.  The  Annunciation. 

2.  The  Conception. 

3.  The  Visitation. 

4.  The  Nativity. 

5.  The  Circumcision. 

6.  The  Resurrection. 

7.  The  Descent  of  the  Holy  Ghost. 

8.  All  Saints. 

9.  The  Trinity. 

1547 

We  place  under  this  date  three  books  of  Hours  which  introduce  us  to 
certainengravings  signed  with  the  Lorraine  cross  accompanied  by  initials. 
1547  is  not  the  exact  date  of  the  engravings  to  which  we  refer,  for  we  shall 
see  that  they  are  of  earlier  execution ;  but  their  first  appearance  is  so  uncer/" 
tain  that  we  are  forced  to  fall  back  upon  the  definite  date  supplied  by  the 
books  in  question. 

I.  Hours  according  to  the  use  of  Toul. 

Octavo.  On  the  first  page :  '  The  present  hours  according  to  the  use 


228 


GEOFROY  TORY 


of  Tou  [sic],  in  full,  sans  requerir,  newly  printed  at  Paris.'  (Here  the  mark 
of  Francois  Regnault . )  *  For  sale  in  Paris,  Rue  Saint  Jacques,  at  the  sign  of 
the  Elephant,  opposite  the  Mathurins,byFran9oys  Regnault's  widow.' 

On  the  verso  is  a  table  of  Easter^ Days  for  thirteen  years,  beginning  in 
1547.  Next  comes  a  calendar,  with  engravings  and  verses  (some  in  Latin, 
some  in  French),  the  'Jours  moralisez,'  divers  moral  and  religious  axioms, 
in  verse  and  in  prose,  and,  lastly,  the  four  Gospels  of  the  Passion,  in  Latin. 
All  these  form  the  first  part,  with  a  special  series  of  signatures,  aa  to  ee. 
It  is  more  than  likely  that  this  first  part,  which  has  no  application  to  any 
particular  diocese,  is  printed,  in  the  same  form,  in  the  Hours  which  Veuve 
Regnault  probably  printed  for  other  churches  about  the  same  time.  In 
signatures  cc  and  ee  there  is  an  engraving  representing  Jesus  on  the  Cross, 
signed  with  the  letters  I,  L,  B  and  the  Lorraine  cross,  which  appears  in 
several  other  publications  of  the  same  period. 

The  second  part  of  the  book  comprises  the  Hours  properly  so-called, 
according  to  the  ritual  of  the  church  of  Toul.  This  part  is  made  up  of  eight 
signatures,  a  to  the  word  T^ou  being  printed  on  the  first  page  of  each 
sheet. 

The  volume  contains  a  hundred  leaves  in  all.  In  addition  to  the  book' 
seller's  mark  and  the  engraving  signed  with  the  Lorraine  cross,  there  are 
55  large  woodcuts,  most  of  which  are  signed  with  the  initials  I,  M  (with' 
out  the  cross),  a  few  small  engravings,  and  a  large  number  of  letters  in 
grisaille,  but  no  borders. 

With  a  copy  of  these  Hours,  which  1  have  seen,  was  bound  the  foUow 
ing  work :  — 

'The  fifteen  effusions  of  the  blood  of  our  Saviour  and  Redeemer  Jesus 
Christ,  by  Barbe  Regnault,  Rue  Saint  Jacques,  at  the  sign  of  the  Elephant, 
opposite  the  Mathurins.'  Eight  leaves  in  two  octavo  folds,  enriched  with 
fifteen  pretty  woodcuts,  interspersed  through  the  text,  and  marked,  like 
the  one  mentioned  above,  which  is  one  of  them,  with  the  letters  I,  L,  B 
and  the  Lorraine  cross. 

This  little  volume  is  undated,  but  it  is  known  that  Barbe  Regnault  sue 
ceeded  her  mother,  Madeleine  Boursette,  widow  of  Francois  Regnault, 
who  was  carrying  on  the  business  as  late  as  1 5 55.  So  that  the  engravings 
with  the  initials  I,  L,  B  might  be  of  later  date  than  that ;  but  we  have  seen 
that  one  of  them  had  already  appeared  in  the  first  part  of  the  book ;  there 
fore  they  are  of  earlier  date  than  1547. 

Here  is  a  list  of  these  engravings,  which  are  the  same  ones  mentioned 
by  M.  Robert'Dumesnil  under  date  of  1599:  — 


ICONOGRAPHY 


229 


3- 
4- 

5. 
6. 

7- 
8. 


2. 


I. 


The  Circumcision. 
Jesus  in  the  Garden  of  Olives. 
The  Apprehension  of  Jesus. 
Jesus  Beaten  with  Rods. 
Jesus  before  Pontius  Pilate. 
Jesus  King  of  the  Jews. 
Jesus  Bearing  his  Cross. 
Jesus  Stripped  of  his  Clothing. 


9.  Jesus  on  the  Cross. 

10.  Same  subject  (without  initials). 

11.  Same  subject  (again  without  initials). 

12.  Same  subject  (with  initials  and  without  the  cross). 

13.  Erection  of  the  Cross. 

14.  Jesus  between  the  two  Thieves. 

15.  Same  subject  (without  cross  or  initials). 

All  of  these  are  4^  centimetres  high  and  5  wide. 

The  'Fifteen  Effusions'  was  reprinted  frequently  during  the  sixteenth 
century,  in  different  formats  and  in  different  type,  but  with  the  same  en^ 
gravings,  and  almost  always  without  date,  because  it  was  added  to  other 
books.  I  have,  however,  seen  one  copy  in  large  type,  dated  1584  (Biblio^ 
theque  Nationale).  These  same  engravings  appear,  with  many  others,  in  \ 
a  work  entitled '  Abrege  des  Meditations  de  la  vie  de  JesusChrist';  octavo, 
Paris,  Guillaume  Chaudiere,  1599. 

II.  HORE  BEATE  MaRIE  VIRGINIS  AD  USUM  PaRISIENSEM,  TOTALITER  AD 
LONGUM,  CUM  MULTIS  ORATIONIBUS  ET  HISTORIIS,  NOVITER  IMPRESSE 

ET  EMENDATE.  (Here  the  Triumph  of  the  Virgin,  an  old  engraving  with 
crible  background,  with  legends  in  gothic  type,  which  figures  in  all  the 
Hours  of  this  period.) '  On  les  vend  a  Paris,  en  la  rue  Sainct  Jacques,  par 
la  veufve  Jehan  de  Brie,  a  I'enseigne  de  la  Lymace,  pres  Sainct  Yves.' 
On  theverso  of  the  title,'a  calendar  for  xi  years,'  beginning  with  1548. 
Each  month  has  its  engraving,  and  the  usual  illustration  is  placed  within 
a  circle;  they  are  not  signed. 

Printed  in  red  and  black,  in  large  gothic  type,  the  work  consists  of  8 
preliminary  leaves  and  16  folios  of  text,  signatures  A  to  Q_,  with  the  let' 
ters  Pa  (Paris).  The  folios  do  not  begin  until  signature  B,  and  run  without 
a  break  to  the  end  of  signature  On  the  last  page  of  this  signature  are 
these  words:  'These  present  hours  according  to  the  use  of  Paris,  with  sev/ 
eral  noble  eulogies  of  Our  Lady,  have  been  printed  by  Veufv^e  Jehan  de 


230 


GEOFROY  TORY 


Brye[j-/V],  living  on  rue  sainct  Jacques,  at  the  sign  of  the  Snail,  near  Sainct 

Yves.  —  M.  D.  XLVIII.' 

Then  follow  12  leaves  of  appendix,  ending  with  a  figure  of  the  Virgin, 
over  which  are  the  words '  Nostre  Dame  de  Lorette,'  in  roman  capitals.  At 
the  foot  of  the  page:  'Ave  Sanctissima  Maria,'  etc.  (5  lines  in  gothic  type). 

This  curious  volume  is  preserved  in  the  BibHotheque  Nationale. 

Besides  the  12  small  engravings  of  the  calendar,  there  are  several  other 
small  subjects,  also  unsigned,  and  1 3  large  ones  with  the  letters  L,  R,  and  the 
double  cross.  These  latter,  which  measure  1 0  centimetres  in  height  and  7  in 
width,  are  as  foUows :  — 

1.  St.  John  writing  his  Gospel. 

2.  The  Annunciation. 

3.  The  Visitation. 

4.  The  Crucifixion. 

5.  The  Descent  of  the  Holy  Ghost  upon  the  Apostles  (with  the  initials, 
but  without  the  cross). 

6.  The  Birth  of  Jesus. 

7.  The  Annunciation  to  the  Shepherds. 

8.  The  Adoration  of  the  Magi. 

9.  The  Circumcision. 

10.  The  Coronation  of  the  Virgin. 

11.  The  Penance  of  David.  He  is  saying  to  the  Father  Eternal  these 
words,  which  are  written  in  a  scroU :  'I  who  have  sinned.' ' 

12.  The  Last  Judgement."" 

13.  Notre-'Dame  de  Lorette. 

As  I  have  said  heretofore  (supra,  p.  149),  the  first  twelve  of  these  are 
improved  copies  of  other,  unsigned  engravings,  belonging  to  Thielman 
Kerver  I,  which  appear  in  many  books  published  by  him  or  by  his  widow, 
lolande  Bonhomme,  at  least  as  early  as  1522,^  and  which  we  find  again  in 
the  Paris  missal  published  by  their  son  Jacques  in  1559. 

1 .  I  have  seen  this  engraving  in  a  fragment  of  a  book  of  Hours,  printed  in  Roman  type  at  a 

date  which  I  cannot  fix  although  it  was  contemporaneous.  This  fragment  consists  of  signatures 
Aa  and  Bh  {2,  half-signature) ,  that  is,  1 2  leaves,  numbered  185  to  1 96.  Signature  Aa  begins 
(folio  185)  with  a  title-page  printed  in  red,  in  these  words :  '  Die  dominica  ad  vesperas.  Psal- 
mus.'  The  engraving  in  question  is  below  them.  The  last  page  of  Bb  ends  with  the  word 
'finis,'  which  proves  that  the  book  had  but  25  signatures. 

2.  Or,  better,  Purgatory.  In  an  octavo  collection  at  the  Bibliotheque  Mazarine,  there  is  a 
little  book  entitled:  '  Le  Purgatoire  prouve  par  la  parole  de  Dieu  '  (octavo;  Paris,  Denis  Basset, 
1600),  in  which  this  engraving,  signed  with  the  Lorraine  cross,  appears  twice;  it  represents  a 
nude  man  standing  in  the  flames,  with  this  legend  in  a  scroll :  '  Constitvas  mihi  tenrvs'  ( tempvs  ? ) 
'in  qvo  recorderis  mei.' 

3.  Such  is  my  opinion ;  but  I  am  bound  to  say  that  M.  Achille  Deveria,  formerly  Conservator 


ICONOGRAPHY  231 

M.  Bmnet '  suggests  a  very  plausible  theory,  to  the  effect  that  the  en^ 
gravings  signed  L.  R.  were  executed  by  Louis  Royer,  who  was  in  fact  the 
first  to  use  them,  in  a  book  of  Hours  entitled : '  Hone  beata^  Marias  ad  usum 
Rom,';  duodecimo,  gothictype,  with  the  mark  of  Jean  de  Brie,  and  the  fol^ 
lowing  words  at  thefoot :  'Parisiis,  impressum  in  vicojacobi  per  Claudium 
Chevallon,  impensis  Ludovici  Royer,  librarii  Parisiensis,  in  eodem  vico  com^ 
morante,  ad  insigne  vulgariter  dictum  la  Lymace.' 

The  book  is  not  dated ;  but  we  see,  on  the  one  hand,  that  it  was  printed 
by  Claude  Chevallon,  who  died  in  1542,  and,  on  the  other  hand,  that  Lx)uis 
Royer,  at  whose  expense  it  was  printed,  had  succeeded  Jean  de  Brie  at  the 
sign  of  the  Snail.  Now,  the  latter  died  about  1522  ;  so  that  it  was  between 
1522  and  1542  that  this  book  saw  the  light,  and  that  the  engravings  with 
the  letters  L.  R.  first  appeared. 

We  know  nothing  of  this  Louis  Royer,  whom  Lottin  does  not  mention. 
Nor  do  we  know  any  more  of  Jean  de  Erie's  widow,  who  seems  to  have 
succeeded  Louis  Royer.  And,  as  if  everything  in  this  matter  were  fated 
to  remain  obscure,  we  find  other  octavo  Hours  according  to  the  use  of 
Rome,  in  French  gothic  type,  undated,  but  with  a  calendar  fi"om  1568 
to  1578,  printed  with  the  same  woodcuts,  and  for  sale  'at  Paris,  on  Rue 
Saint  Jacques,  at  the  sign  of  the  Snail ';  with  no  other  details.  In  the  book 
we  have  described  we  find  also :  — 

1.  The  Virgin  and  the  Child  Jesus  (signed  with  the  letters  L.  R.  and  the 
cross). 

2.  Jesus  betrayed  by  Judas  (same  marks). 

3.  Jesus  bearing  his  Cross  (same  marks). 

4.  Jesus  on  the  Cross  (same  marks). 

5.  Jesus  in  the  Tomb  (same  marks). 

6.  The  Resurrection  (same  marks). 

7.  The  Flight  into  Egypt  (same  marks). 

8.  Job  (unsigned). 

9.  Jesus  at  Emmaiis  (unsigned). 

III.  Heures  en  francoys  a  l'usaige  de  Rome,  nouvellement  imprp 
MEES  A  Paris  pour  Guillaume  Merlin,  m.  d.  xlviii. 

of  the  Department  of  Engravings,  was  of  the  opposite  opinion.  According  to  him  the  unsigned 
engravings  were  copies  of  the  others.  It  seems  to  me  that  the  dates  of  printing  confirm  my  the- 
ory. For  we  find  the  unsigned  engravings  in  an  edition  of  1522;  so  that  we  must  refer  those 
with  the  cross  to  an  earlier  date ;  but  this  seems  hardly  probable,  since  Louis  Royer  (to  whom 
they  are  attributed,  as  we  shall  see,  because  he  was  the  first  to  use  them )  succeeded  Jean  de  Brie, 
who  did  not  die  until  about  1522. 

I.  Manuel du  Libraire,  5th  edition,  vol.  v,  col.  1672,  no.  366  bis. 


232  GEOFROY  TORY 

Octavo,  gothic  type ;  printed  in  red  and  black.  This  book,  which  I  saw 
at  the  sale  of  M.  Chedeau's  library,  is  illustrated  with  engravings,  most  of 
them  signed  with  the  Lorraine  cross,  to  which  the  initials G.  M.  are  some/ 
times  added.  They  are  8  centimetres  high  by  55  millimetres  wide.  The  list 
follows:  — 

1.  Saint  John  writing  his  Gospel  (unsigned). 

2.  The  Annunciation  (unsigned). 

3.  The  Visitation  (signed  with  the  Lorraine  cross  and  the  initials  G.  M.). 

4.  The  Nativity  (signed  with  the  Lorraine  cross  only). 

5.  The  Annunciation  to  the  Shepherds  (the  cross  only). 

6.  The  Adoration  of  the  Magi  (the  cross  only). 

7.  The  Circumcision  (the  cross  only). 

8.  The  Flight  into  Egypt  (unsigned). 

9.  The  Coronation  of  the  Virgin  (the  cross  only). 

10.  The  Descent  of  the  Holy  Ghost  upon  the  Apostles  (signed  with  the 
letters  G.  M.  and  the  Lorraine  cross  in  a  small  circle). 

1 1.  Jesus  on  the  Cross  (the  cross  only). 

12.  Bathsheba  (the  cross  only). 

13.  Job  (the  cross  only). 

We  think  that  we  can  safely  attribute  the  designing  of  these  engravings 
to  GuUlaume  Merlin,  the  publisher  of  this  book  of  Hours.  They  must,  at 
all  events,  be  much  earlier  than  1 5  48,  for  we  have  already  seen  one  of  them 
(no.  10)  in  a  book  of  1541  (supra,  p.  217). 

Guillaume  Merlin  also  published  about  1559  a  book  of  Hours  embel^ 
lished  with  engravings  signed  with  the  Lorraine  cross.  It  is  entitled: 
*  Heures  a  I'usage  de  Romme '  [sic],  and  is  undated,  but  has  a  calendar 
from  1559  to  1570.  It  is  a  small  octavo,  printed  in  gothic  characters,  in 
red  and  black.  At  the  end  are  the  words : '  Printed  by  Jean  Bridier.' 

We  find  in  this  volume,  which  was  in  M.  Chedeau's  library,  12  en^ 
gravings  representing  the  twelve  months  of  the  year.  Three  of  them  are 
signed  with  the  Lorraine  cross,  namely,  January,  May  and  December. 
The  others  have  no  mark.  They  are  10  centimetres  high  by  7  wide.  On 
folio  62  verso  is  the  Virgin  holding  the  Child  Jesus.  She  is  within  an 
aureole  of  flames,  with  her  feet  on  a  crescent. 

1548 

Theodori  Bez^  Vezelii  poemata.  Paris,  Conrad  Bade,  1548. 

Octavo  of  I  GO  pages  printed  in  italic  type.  This  is  the  first  edition  of  this 


ICONOGRAPHY 


233 


book  and  contains  a  portrait  of  Theodore  de  Beze  signed  with  the  Lor^ 
raine  cross.  It  is  the  oldest  portrait  that  we  know.  Below  it  are  the  follow^ 
ing  verses,  alluding  to  a  laurel  wreath  which  Theodore  has  in  his  hand :  — 

Vos  docti  docta  prscingite  tempora  lauro: 
Mi  satis  est  illam  uel  tetigisse  manu. 


vos  docti  Joda  prtzrinpte  tempora  lauro: 
Mi  fatis  e{l  illam  ud  tetigijje  mam 


The  inscription  *  An.  29/  at  the  top  of  the  portrait,  indicates  that  it 
was  engraved  in  the  same  year  that  the  book  was  printed;  for  Theodore 
de  Beze,  born  at  Vezelay  June  24, 15 19,  completed  his  twenty^'ninth  year 
in  1548,  the  date  of  the  dedicatory  epistle  of  this  book,  which  the  author 
addressed  to  his  teacher,  Melchior  Volmar.  'Vale.  Lutetise,  vii.  cal.  lul. 
qui  dies  est  mihi  natalis.'  The  mark  of  Conrad  Bade,  also  signed  with  the 
Lorraine  cross,  is  on  the  first  page  of  this  book,  which  was  finished  on 


ICONOGRAPHY  235 

July  15, 1548.  'Lutetiae,  Roberto  Stephano,  regio  typographo,  et  sibi,  Con/ 
radus  Badius  excudebat,  idibus  Julii  m.  d.  xlviii.'  It  was  shortly  after,  in 
this  same  year,  that  Theodore  de  Beze,  on  recovering  fi^om  a  severe  ilP 
ness,  withdrew  to  Geneva,  and  abjured  '  the  papacy,  as  he  had  sworn  to 
God  to  do  at  the  age  of  sixteen.'  The  portrait  has  been  reproduced  on  cop/ 
per ;  there  is  a  copy  of  the  reproduction  in  the  collection  of  Tory's  work  at 
the  Bibliotheque  Nationale. 

1549 

I.  Pauli  Iovii  Novocomensis  vit^  duodecim  vicecomitum  Medio/ 
lani principum. —  ex  bibliotheca  regia. —  luteti^.  ex  officin  a 
Rob.  Stephani,  typographi  regii.  m.  d.  xlix. 

Quarto  of  199  pages.Paris,  1549.  This  book  is  a  faithftil  copy  ofthemanu/ 
script  ofthe  same  work,  preserved  in  the  Bibliotheque  Nationale.'  It  is  em/ 
bellished  with  beautiful  letters  in  grisaille  with  crible  background,  and  with 
portraits  of  the  ten  dukes  of  Milan  who  figure  in  the  manuscript.  These 
portraits,  all  marked  with  the  Lorraine  cross,  are  faithful  reproductions 
of  those  in  the  manuscript,  but  on  a  smaller  scale.  Following  is  a  list  of  the 
portraits,  taken  by  Paulus  Jovius  fi^om  originals  which  existed  in  his  day 
and  of  which  he  gives,  in  each  case,  the  place  where  it  may  be  found : — 

1.  Otho  archiepiscopus. 

2.  Matthaeus  magnus. 

3.  Galeacius  primus. 

4.  Actius. 

5.  Luchinus. 

6.  Joannes  archiepiscopus. 

7.  Galeacius  secundus. 

8.  Barnabas. 

9.  Joannes  Galeacius  primus. 
10.  Philippus. 

There  is  a  French  translation  of  this  book,  printed  in  1552  by  Charles 
Estienne  (Robert  was  then  in  exile  atGeneva),  with  the  same  plates.  As  for 
the  Latin  version,  it  was  reprinted  several  times,  in  different  places,  with 
engravings  on  copper  copied  from  those  of  Robert  Estienne's  edition. 

II.  Entree  de  Henri  II  a  Paris. 

Quarto;  Paris,  Jacques  RofFet,  called  *  Le  Faulcheur,'  1549. 

This  book,  of  38  leaves,  consists  of  two  parts :  the  '  Entree  du  roi,'  of 

I.  [See  supra,  p.  i68.] 


ICONOGRAPHY  237 

28  leaves,  and  the '  Entree  de  la  reine,'  in  which  the  pagination  is  repeated, 
but  with  different  signatures.  The  privilege,  dated  Chantilly  the  last  day 
of  March,  1548  (1549  new  style),  grants  to  Roffet  the  sole  right  to  have 
printed  and  to  offer  for  sale  during  one  year  'the  treatise  which  is  to  be 
written  concerning  the  recent,  joyful  entree,'  etc. 

There  were  two  editions  of  this  book,  or,  at  all  events,  there  are  some 
copies  with  additions  to  the  second  part — after  folio  34.  There  are  also 
copies  with  the  imprint  of  Jean  Dallier .  A  list  of  the  engravings  follows : 

1 .  A  portico,  above  which  we  see  Hercules  holding,  bound  together 
by  the  ears  (by  means  of  a  chain  issuing  from  his  mouth  and  represent^ 
ing  eloquence),  a  wood^chopper,  a  soldier,  a  priest,  and  a  noble  (folio  4). 
I  can  find  no  mark  on  this  piece,  but  it  is  a  reproduction  of  the  Gallic 
Hercules  of 'Champ  fleury.' 

2.  A  fountain  (folio  5  verso). 

3.  A  triumphal  arch  surmounted  by  the  arms  of  France  (folio  9). 

4.  An  obelisk  on  a  rhinoceros  (folio  11).  The  cross  is  under  the  left 
foot  of  the  rhinoceros. 

5.  A  peristyle  with  pillars  (folio  13). 

6.  A  triumphal  arch  surmounted  by  three  nude  men,  one  of  whom 
holds  a  standard  (folio  15). 

7.  A  large  vaulted  hall,  on  the  ceiling  of  which  are  H's  and  D's  (folio 
16).  The  cross  is  in  a  portico  at  the  left. 

8.  A  mounted  man,  armed  (folio  19).  The  cross  is  in  the  horse's 
harness,  on  the  breastplate,  a  little  below  his  mouth. 

9.  A  triumphal  arch,  with  two  pillars  (one  on  each  side)  surmounted 
by  a  man  on  horseback  (folio  38).  The  cross  is  on  the  left-hand  pillar. 

10.  A  portico  with  two  openings,  separated  by  a  pillar  against  which 
rests  the  statue  of  a  woman  standing  on  books  (foHo  39  verso). 

1 1 .  A  large  plate,  representing  the  fagade  of  a  palace  with  three  por^ 
ticos  (foKo  40). 

Of  these  eleven  plates  only  four  are  signed ;  but  all  of  them  must 
have  come  from  Tory's  workshop,  for  the  style  is  the  same.  The  ab-* 
sence  of  the  signature  may  be  explained  by  the  haste  with  which  the 
engravings  were  executed  in  order  that  they  might  appear  at  the  op-' 
portune  moment. 

I  cannot  refrain  from  quoting  M.  Renouvier's  remarks  on  the  en' 
gravings  in  this  book,  which,  for  lack  of  information,  he  attributed  to 
Jean  Cousin. 

*I  wiU,  however,  mention  in  this  place  the  "Entree  de  Henri  II  a 


238  GEOFROY  TORY 

Paris  "  in  1 549,  because  it  is  the  chef'd'oeuvre  of  French  wood^engrav-' 
ing,  and  because  I  know  of  no  one  to  whom  it  can  with  more  reason 
be  attributed  than  to  the  Senonais  master.'  If  he  did  not  work  for  the 
court,  he  may  very  well  have  been  employed  upon  works  for  the  city. 
Those  which  were  executed  to  commemorate  the  coronation  of  Queen 
Catherine  de  Medici  are  of  a  manner  of  composition  and  a  style  that 
belong  only  to  him.  The  Gallic  Hercules,  made  in  the  likeness  of  the 
late  King  Francois  I,  with  the  four  estates  of  the  realm  chained  to  his 
mouth ;  the  fountain  surmounted  by  statues  of  the  Seine,  the  Marne, 
and  Good  Fortune ;  the  triumphal  arch  bearing  a  Typhis,  whose  face 
strongly  resembles  that  of  the  "  rex  triumphans  " ;  and,  lastly,  the  figure 
of  Lutetia  nova  Pandora  "clad  as  a  nymph,  with  her  hair  falling  over  her 
shoulders  and  drawn  about  her  face,  kneeling  on  one  knee  with  won' 
drous  grace" ;  and  all  the  other  details  which  the  artist  painted,  as  hap-' 
pening  in  the  streets  through  which  the  procession  passed,  and  which 
he  included  by  way  of  narrative,  are  in  the  refined  manner  of  the  French 
school.  The  drawing  is  pure  and  fiill  of  delicacy,  and  the  engraving  so 
skilfiilly  handled  that  one  cannot  believe  it  to  be  by  a  different  hand.  It 
would  seem  that  none  but  a  sculptor  could,  within  such  narrow  limits, 
have  set  in  relief  those  interesting  faces,  designed  those  gracefiil  figures, 
and  arranged  those  draperies ;  and  that  sculptor  —  who  could  it  have 
been  if  not  the  author  of  the  mausoleum  of  Admiral  Chabot,  the  French 
artist  who  best  represented  the  two  sides  of  art,  —  detail  and  strength, 
compression  and  grandeur,  gothicism  and  the  Renaissance  ? '  ^ 

While  agreeing  with  M.  Renouvier  that  these  plates  were  drawn  by 
Jean  Cousin,  we  may  well,  it  seems  to  me,  attribute  the  engraving  of 
them  to  Tory's  workshop. 

III.  HOR^  IN  LAUDEM  BEATISSIM^  ViRGINIS  MaRI^,  AD  USUM  Rc 

MANUM.  (Here  a  small  mark  of  the  printer  Chaudiere,  representing 
Time,  with  this  device,  printed  fi-om  type,  occupying  three  sides  of 
the  engraving  :*  Hanc  aciem  |  sola  1  retvndit  virtvs.') '  Parisiis,  ex 
officina  Reginaldi  Calderii  et  Claudii  ejus  filii.'  1 549. 
Large  quarto,  divided  into  signatures  of  two  sheets,  a  \.oy  (the  i,  prob-* 
ably  because  that  letter  was  lacking  in  the  font  used,  is  represented  by 
an  / and  a  2;  joined  together),  or  22  signatures  of  8  leaves,  making  176 
leaves ;  printed  in  red  and  black. 

1 .  [Jean  Cousin  was  born  in  i  501 ,  and  died  at  Sens  about  i  590.] 

2.  Renouvier,  Des  Types,  tie,  Seizieme  Steele,  y>-  162. 


ICONOGRAPHY  239 

This  volume  corresponds  in  all  respects  with  the  one  issued  by  Simon 
deColines  in  1 543 ' ;  but  the  Chaudieres  (Simon  de  Colines's  successors) 
have  removed  a  French  inscription  which  appeared  below  the  third 
plate  (the  Angelic  Salutation)  in  the  edition  of  1 543  ;  and  they  have  re'' 
moved  all  the  dates  inscribed  in  the  borders  of  that  edition.  These  dates 
are :  1 536,  which  appeared  in  large  figures  in  a  cartouche  at  the  foot  of 
the  border  of  folio  ^  4  of  the  edition  of  1 543 ;  1 53  7,  in  a  cartouche  at  the 
foot  of  the  sixth  plate  (the  Annunciation  to  the  Shepherds) ;  and  1 539, 
in  two  small  cartouches  at  the  top  of  the  border  of  folio  ^  2 ;  so  that  all 
the  cartouches  are  empty  in  this  edition  of  1 549. 

I  know  of  only  two  copies  of  this  edition,  one  belonging  to  M.  Kiihn-' 
holtz,  the  learned  librarian  of  the  Faculty  of  Medicine  of  Montpellier, 
the  other  offered  for  sale  at  Claudin's  bookshop  in  1 860.  This  last  copy, 
in  a  state  of  perfect  preservation,  is  still  in  its  original  binding,  with  S's 
barre,  and  small  tortoises  {tortues)  in  wreaths  of  olive.  These  are  the  al/ 
lusive  ^  arms  of  the  Tourteron  family  near  Attigny.  There  is  also,  on  one 
of  the  fly-'leaves  at  the  fi^ont  of  the  book,  a  large  tortoise  coloured  from 
life,  on  a  red  ground,  in  a  green  olive  wreath ;  and  at  the  four  corners  a 
monogram  of  an  I  and  two  G's,  the  initials  of  the  original  owner's  bap'' 
tismal  names.  The  volume  afterwards  belonged  to  J.^F.  Corel  du  Clos, 
priest  and  canon,  who  wrote  his  name  on  the  title-page  and  pasted  his 
arms,  engraved  on  copper,  in  an  empty  space  at  the  foot  of  folio  h  3 
verso.  Du  Clos  seems  to  have  parted  with  it  to  the  Cordeliers  of  Rheims, 
in  whose  library  it  remained  doubtless  until  the  Revolution. 

IV.  Premier  volume  des  antiquites  de  la  Gaule  Belgique, 

ROYAUME  DE  FRANCE,  AuSTRASIE  ET  LORRAINE  , . .  PARM.  RiCH' 
ARD  DE  WaSSEBOURG,  ARCHIDIACRE  DE  l'eGLISE  DE  VeRDUN  . .  . 
ACHEVE  d'imPRIMER  LE  I3  NOVEMBRE  I549. 

A  large  folio  of  more  than  600  leaves,  printed  at  Paris  by  Francois 
Girault.  The  privilege,  in  the  name  of  Sertenas,  bookseller,  is  dated  Octo/ 
ber  1, 1549.  It  was  issued  evidently  while  the  printing  was  in  progress, 
for  it  is  impossible  that  the  volume  was  made  in  a  month  and  a  half. 

On  the  first  page  is  the  fine  frontispiece  of  the  Dream  of  Poliphilus, 
above  which  is  the  mark  of  Jacques  Kerver .  There  is  but  one  way  to  ex*- 
plain  this  fact,  and  that  is  to  assume  that  Kerver  was  the  printer  of  the 
book.  It  may  be  that  there  are  copies  in  his  name.  In  that  case  he  may 
have  furnished  the  border,  which  was  left:  in  aU  the  copies. 

I.  [See  supra,  p.  21 1.]      2.  That  is,  having  immediate  reference  to  the  bearer's  name. 


240  GEOFROY  TORY 

On  the  second  leaf  is  the  representation  of  the  '  Ymage  de  nostre 
Dame  de  Verdun,'  with  the  Lorraine  cross.  The  Virgin,  seated,  has  in 
her  right  hand  a  flower,  and  in  the  left  the  Child  Jesus,  holding  in  his 
left  hand  the  globe  surmounted  by  a  cross.  The  Virgin's  feet  rest  on  a 
winged  dragon.  Below  her  is  a  man  kneeling,  with  his  coat-'of'-arms  be' 
fore  him.  Presumably  it  is  the  author  of  the  book. 

After  folio  cccli,  which  concludes  the  first  volume,  comes  the  second 
volume,  the  pagination  of  which  follows  on.  The  title-'page  of  this  voP 
ume,  while  it  is  set  in  the  border  of  the  Poliphilus,  differs  slightly  from 
that  of  the  first.  It  reads  thus:  *  Second  volume  des  antiquites  de  laGaule 
Belgique  et  de  plusieurs  principautez  contenues  en  icelle,  extraites  soubs 
les  vies  des  evesquesde  Verdun,  par  M.  Richard  de  Wassebourg. . .  .  On 
les  vend  a  Paris,  en  la  gallerie  du  Palais,  par  Vincent  Sertenas,  libraire  au' 
ditlieu.  Etaussi,se  vend  en  la  cite  de  Verdun.'  Onthe  versoistheengrav 
ing  described  above.  The  Lorraine  cross  is  under  the  dragon's  tail. 


ICONOGRAPHY 


241 


V.  Gerard  d'Euphrate. 

Folio,  roman  type,  Paris,  Estienne  Groulleau,  1 549.  There  are  copies 
also  with  the  imprint  of  Longis,  and  others  with  that  of  Sertenas. 

This  volume  contains  numerous  engravings,  large  and  small ;  but 
only  3 1  of  them  are  different,  many  being  repeated  once,twice,or  thrice. 
Three  are  signed  with  the  Lorraine  cross,  as  follows :  — 

Folios  5  verso,  64  verso,  89  verso,  and  1 83.  Vessels  manned  by  soldiers. 
A  woman  stands  near  the  shield  of  him  who  seems  to  be  in  command.' 

Folio  46.  A  knight  armed  cap-'a^pie  standing  in  the  recess  of  a  por^ 
tico.  His  right  foot  is  hidden  by  a  sort  of  altar  whereon  are  the  names  of 
Madanil,  Bruneo,  Agradiis,  and  Amadis.^ 

Folio  48.  Bird's-'eye  view  of  a  chateau  which  has  been  besieged,  at 
whose  gate  stands  a  warrior  accompanied  by  a  horse  and  a  dog ;  he  is 
parleying  with  the  keeper  of  the  gate,  who  stands  at  the  top  of  the  en/ 
trance  tower.  This  last  plate  is  a  superb  folio. 

1550 

I.  Hor^  in  laudem,  etc. 

Hours  of  the  Virgin  accordingto  the  useof  Rome,inGreekand  Latin. 

Small  sixteenmo,  Paris,  Jean  de  Roigny,  1550.  Printed  in  red  and 
black.  One  of  the  engravings,  on  leaf  1 13,  representing  the  Sacrifice  of 
David,  is  signed  with  the  Lorraine  cross.  The  others  are  not  signed,  but 
are  absolutely  in  the  same  style;  they  are:  the  Annunciation,  folio  38 
(repeated  on  105),  and  the  Resurrection  of  Lazarus,  folio  133.^ 

II.  Breviarium  ad  ritum  diocesis  Eduensis. —  Parisiis,apudIolan'' 
dam  Bonhomme,  viduam  Thielmani  Kerver,  in  via  Jacobea,  sub  Uni' 
corni. 

Small  octavo,  1550.  On  the  first  page  are  the  arms  of  Cardinal  Hip' 
polyte  d'Este,  Bishop  of  Autun,  signed  with  the  Lorraine  cross. ^ 

III.  L'Histoire  de  Primaleon  de  GRECE,etC. 
Translated  by  Vernassal.  Folio,  Paris,  1550. 

This  fine  volume,  printed  by  Pasquier  Letellier  for  the  bookseller 
Vincent  Sertenas,  for  whom  Tory  had  engraved  a  mark,  contains  fifty 
engravings  in  the  text.  A  single  one  is  signed  with  the  Lorraine  cross: 
it  is  found  on  folio  137  verso,  and  represents  a  lion  fawning  upon  a 
woman  who  sits  beside  a  fountain. 

1 .  [Reproduced  on  the  opposite  page.] 

2.  This  engraving  had  previously  appeared  in  •  Amadis  de  Gaule ' :  see  supra,  p.  216. 

3.  Bibliotheque  Nationale. 


242  GEOFROY  TORY 

There  are  copies  of  this  book  in  the  names  of  other  boolcsellers  — 
l^tienne  Groulleau,  Jean  Longis,  etc. ;  but  the  privilege  is  in  the  name 
of  Sertenas.'  At  the  end  of  the  volume  is  a  note  to  the  reader  by  Letel' 
lier.  'Dear  reader,'  he  says,  'if  you  have  noticed,  on  reading  this  book, 
the  common  orthography  changed  in  some  words,  even  as  to  the  double 
letter,  which  is  not  pronounced  according  to  the  true  French  method, 
think  not  that  that  is  of  my  doing,  but  that  it  accords  with  the  earnest 
recommendation  of  the  author.' 


IV.  MiSSALE  SECUNDUM  USUM  CELEBRIS  MONASTERII  ClUNIACEN^ 

SIS,  etc.  Here  the  vignette  described  below,  followed  by  this  im-' 
print : '  Prostat  Parisiis,  apud  lolandam  Bonhomme,  in  via  Jacobea, 
sub  Unicorni,  ubi  et  impressum  est. — Anno  D.  m.  ccccc.  l.' 
This  missal  is  embellished,  on  the  title^'page,  with  a  cut  signed  with 
the  Lorraine  cross,  and  representing  Saint  Peter  and  Saint  Paul,  patron 
saints  of  the  Abbey  of  Cluny .  This  cut  appears  in  other  parts  of  the  book, 
where  we  find  also  the  two  large  cuts  hitherto  described  (page  214)  as 
included  in  the  Missal  of  Paris,  of  1 5  3  9 ,  published  by  order  of  Jean  de  BeP 
lay.  We  find  also  a  Saint  John  Baptist,  with  the  Paschal  Lamb  under 
his  left:  arm,  and  pointing  to  it  with  his  right  hand.  This  cut,  which  is 
signed  in  two  different  places,  is  on  folio  49  of  the  second  part.  It  is  of 
quarto  size. 

The  book  is  in  two  parts,  paged  separately.  The  two  large  engravings 
are  on  folios  1 16  and  1 17  of  the  first  part.  At  the  end  of  the  Missal 
proper,  which  is  followed  by  a  few  other  leaves,  are  these  words : '  Ex 
officina  chalcographica  matrone  clarissime  lolande  Bonhomme,  vidue 
industrii  viri  Thielmanni  Kerver,  Parisiis,  in  via  Jacobea,  sub  Unicorni, 
anno  D.  millesimo  quingentesimo  quinquagesimo,  idib.  septembris.' 

There  are  several  copies  of  this  book  in  the  Bibliotheque  Nationale. 
In  two  of  them  the  miniaturists  have  substituted  for  the  date  1538, 
printed  on  one  of  the  large  cuts,  the  dates  on  which  they  coloured  it  — 
1559  and  1567,  respectively.  It  is  well  to  call  attention  to  such  details 
as  these,  which  may  give  rise  to  mistakes. 

We  also  find  in  the  Cluny  Missal  the  unsigned  drawings  to  which  I 
have  previously  referred^  and  which  are  in  the  Paris  Missals  of  1 539  and 

1559- 

1 .  The  copies  in  Sertenas's  name  bear  a  very  curious  mark,  which  is  reproduced  in  M.  Sil- 
vestre's  book,  nos.  221  and  714. 

2.  [Supra,  p.  149.] 


ICONOGRAPHY  243 
V.  Heures  de  Nostre  Dame  a  l'usaige  de  Romme  [sic],  en  latin 

ET  EN  FRANCOYS,  NOUVELLEMENT  IMPRIMEES  A  PaRIS.  (Here  a 

vignette  representing  the  Virgin  under  a  portico ;  at  the  foot  the  let^ 
ters  F.  R.,  initials  of  Francois  Regnault,  deceased  husband  of  Made/ 
leine  Boursette.)  *  A  Paris,  par  Magdaleine  Boursette,  a  I'enseigne  de 
I'Elephant,  a  la  rue  Sainct  Jacques.' 

On  the  verso  of  the  title-page  a  table  of  Easter^Days  from  1 550  to 
1566. 

Sixteenmo,  in  signatures  of  8  leaves.  The  work  is  in  two  parts ;  the 
first  has  168  numbered  leaves,  signatures  A  to  X;  the  second  part  has 
only  32  leaves,  signatures  A  to  D.  Roman  type,  double  columns,  printed 
in  red  and  black.  On  the  recto  of  folio  1 68  of  the  first  part,  at  the  foot,  are 
these  words :  *  Parisiis  excudebat  Stephanus  Mes  viere  in  zedibus  Vindo^ 
cimis,  ex  adverso  collegii  Becodiani.  —  1 550,'  And  on  the  last  leaf  of 
the  second  part : '  Cy  finent  ces  presentes  Heures  a  l'usaige  de  Romme, 
en  latin  et  en  fi-angoys,  nouvellement  imprimees  a  Paris,  par  Estienne 
Mesviere,  demourant  a  I'hostel  de  Vendosmes,  devant  le  college  de  Bon/ 
courd.— M.  D.  L.' 

This  precious  book,  of  which  I  know  of  but  one  copy,  owned  by  M. 
Silvestre,  author  of'  Les  Marques  Typographiques,'  contains  many  en/ 
gravings.  The  principal  ones  are : 

Folio  5  recto.  Saint  John  writing  his  Gospel  (signed). 

12  recto,  Jesus  at  prayer  in  the  Garden  of  Olives. 

33  recto,  The  Angelic  Salutation  (signed). 

47  verso.  The  Visitation  (signed). 

56  verso,  The  Nativity  of  Jesus  (signed). 

60  recto,  The  Annunciation  to  the  Shepherds  (signed). 

63  verso.  The  Adoration  of  the  Magi  (signed). 

67  recto,  The  Presentation  in  the  Temple  (signed). 

70  verso,  The  Flight  into  Egypt  (signed). 

77  recto,  The  Coronation  of  the  Virgin. 

89  recto,  Jesus  on  the  Cross. 

93  verso.  The  Descent  of  the  Holy  Ghost  (signed). 

97  verso.  The  Penance  of  David  (signed). 
109  verso,  Job  on  the  Dunghill. 
168  verso,  Death  (signed). 

VI.  HoR^  IN  laudem  beatissime  Virginis  Marie  ad  usum  Ro/ 
manum. — Parisiis,  apud  Thielmannum  Kerver.  M.  D.  L. 


244  GEOFROY  TORY 

On  the  verso  of  the  last  leaf:  'Excudebat  Parisiis.Thielmaiinus  Ker^ 
ver,  in  vico  sancti  lacobi,  sub  signo  Gratis.  —  M.  D.  L. ' 

Small  octavo  of  1 72  unnumbered  leaves ;  signatures  A  to  X  of  8  leaves 
and  Y  of  4.  Roman  type,  printed  in  red  and  black,  with  the  small  bord' 
ers  vv^ith  birds,  etc.,  used  by  Mallard  in  his  Hours  of  1 541 


1551 

I.  De  sacris  ecclesi^  ministeriis  AC  ben[e]ficiis  libri  VIII .  .  . 
AUTHORE  Francisco  Duareno  jureconsulto  et  ordinario 
JURIS  civiLis  doctore  IN  civiTATE  Biturig[i].  —  LutetiaB,  ex 
typographia  Matth^i  Davidis,  via  Amygdalina,  ad  Veritatis  insigne. 

—  1551- 

Quarto  of  338  leaves,  plus  one  unnumbered  leaf,  on  which  are  the 
words: '  Parisiis, excudebat Matthaeus David, prid.calend.nov.  [October 

31]  1551- 

On  the  title-page  is  David's  mark,  with  the  Lorraine  cross.  On  the 
verso,  a  portrait  of  Le  Duaren,  in  the  shape  of  a  medallion,  also  signed 
with  the  Lorraine  cross.  Encircling  it,  the  legend :  'francisc.dvarenvs. 
jvrisc."" 

The  work  opens  with  an  epistle  to  Marguerite ,  Duchesse  de  Berry,  and 
sisterof  Francois  I.  This  letter,  dated  Paris,  the  Ides  of  June,  1 550,  is  more 
properly  a  dedication,  for  in  it  Le  Duaren  mentions  the  death  of  Mar^ 
guerite,  which  took  place  in  1 549.  He  tells  us,  further,  in  the  title  of  this 
epistle,  that  it  was  written  before  his  return  to  Bourges,  which  he  had 
been  obliged  to  leave  in  1 547, asthe  result  ofalove-'affair  ('antequam  Lu^ 
tetia  Parisiorum  Avaricum  Biturigum  migrasset  ').^ 

II.  GiCERo's  Works  (in  Latin),  published  by  Gharles  Estienne,  from 
1 55 1  to  1555,  in  four  folio  volumes,  usually  bound  in  two. 

This  important  work  is  embellished  with  a  frieze  engraved  for  Robert 
Estienne,  and  signed  with  the  Lorraine  cross, — a  frieze  which  appears 
in  the  second  volume  of  the  works  of  Eusebius  of  1 544.'*  We  also  find 

1 .  See  under  that  date  for  details  (supra,  p.  218). 

2.  This  portrait  was  engraved  on  copper,  in  i  556,  by  Woeiriot,  printed  separately,  and 
pasted  on  the  recto  of  the  second  leaf  of  Le  Duaren's  works,  printed  at  Lyon  in  i  5  58  by  Guil- 
laume  Rouille,  in  folio ;  on  some  copies  Woeiriot' s  engraving  of  Le  Duaren's  portrait  is  replaced 
by  the  one  engraved  by  Georges  Ghisy,  called  the  Mantuan.  See  Robert-Dumesnil,  Peintre- 
graveur  frarifais,  vol.  vii,  p.  109,  no.  282. 

3.  See,  too,  the  article  on  Le  Duaren  in  the  Biographic  JJniverselle. 

4.  Supra,  p.  1 89,  note  3. 


ICONOGRAPHY  245 

therein  several  floriated  letters  signed  with  the  Lorraine  cross . '  These  are 
the  E,  the  O,  and  the  S  of  the  medium  alphabet,  —  for  there  are  three 
alphabets  of  different  sizes,  all  three  formed  by  Renaissance  arabesques. 
The  largest  is  the  one  used  in  the  folio  Eusebius  of  1 544,  which,  conse^ 
quently,  was  engraved  for  Robert  Estienne ;  but  it  has  no  signature.  The 
medium  alphabet  was,  doubtless,  engraved  for  Charles  Estienne  in  this 
same  year  1 551 ,  in  which  he  began  to  conduct  a  printing-office.  I  can^ 
not  say  whether  any  other  letters  of  this  medium  alphabet  bore  the  Lor^ 
raine  cross,  for  they  do  not  all  appear  in  the  book,  but  I  am  sure  that  the 
G  has  none.  Of  course,  after  Tory  died,  the  artists  employed  in  the  es' 
tablishment  carried  on  by  his  widow  had  no  reason  to  select  the  G 
rather  than  another  letter. 

I  give  some  details  concerning  this  valuable  edition,  of  which  M. 
Didot  owned  a  copy  annotated  by  Henri  Estienne.  The  text  of  the  first 
volume,  printed  in  155 1,  as  stated  in  an  imprint  at  the  end  (dated  the 
3d  of  the  Nones  of  September),  exhibits  one  of  the  letters  mentioned 
above  —  the  S  (on  folios  56  and  298).  This  volume  received  later  a 
large  title-page  dated  1555,  and  a  dedication,  to  the  Cardinal  de  Lor^ 
raine,  also  dated  1 555  (the  6th  of  the  Kalends  of  March),  on  which  we 
find  the  fi"ieze  of  the  Eusebius  of  1 544,  signed,  and  bearing  on  a  me/ 
dallion  Fame  distributing  wreaths.^  The  text  of  the  second  volume, 
also  of  1 551,  as  I  discovered  from  an  incomplete  copy  in  the  library  at 
Montbrison  (it  has  no  final  imprint,  but  on  the  title-page  some  one  has 
added  iii  by  hand  to  the  original  numerals  m.  d.  li,  so  that  it  might 
correspond  with  the  other  copies),  contains  the  three  floriated  letters 
signed  with  the  Lorraine  cross  (folios  47, 1 22, 230, 313, 388, 398) ;  we 
find  also,  on  the  title-'page,  dated  1554,  Charles  Estienne's  small  mark 
described  later.^  The  text  of  the  third  volume  was  probably  printed  in 
1552,  but  it  has  no  final  imprint.  The  title-page  is  dated  1555 ;  it  has 
the  small  mark  with  the  Lorraine  cross.  The  fourth  bears  on  the  title' 
page  the  date  1554,  but  it  was  not  finished  until  1555,  as  is  shown  by 
the  final  imprint  (3d  of  the  Kalends  of  March,  1555) ;  the  vignette  of 
the  title-page  is  unlike  that  in  the  second  and  third  volumes,  although 
of  the  same  size,  and  has  not  the  cross.  The  work  did  not  appear  until 
1 555,  as  is  shown  by  the  date  on  the  title-page  of  the  first  volume,  on 
which  there  is  another  larger  mark,  also  without  the  cross.'^ 

1.  These  letters  had  akeady  appeared  in  a  book  published  by  Robert  Estienne  in  i  549. 

2.  This  frieze  in  1 561  came  into  the  possession  of  the  second  Robert  Estienne,  who  used 
it  in  a  book  entitled  :  Ordonnances  de  M.  k  due  de  Bouillon  pour  le  reglement  de  la  justice  de 
ses  terres.  Small  folio,  1 568.  3.  Page  271.  4.  Bibhotheque  Nationale. 


246 


GEOFROY  TORY 


1552 

I.  Heures  Paris  [sic],  contenant  plusieurs  oraisons  devotes, 

EN  FRANCOIS  ET  EN  LATIN  ET  CONFESSION  GENERALE.  (Here 

the  mark  of  Thielman  Kerver,  with  the  Lorraine  cross.)  Imprime 
a  Paris  par  Thielman  Kerver,  demourant  rue  Sainct  Jaques,  a  Ten' 
seigne  du  Gril.  —  1 552. 

Duodecimo,  red  and  black;  signatures  A  to  O.  Tory's  small  border 
with  decorations  of  birds.  Plates  of  the  Hours  of  1541.' 

II.  Testamentum  novum.  —  Additis  picturis  in  Evangelia  ET 
Apocalypsim,  QUIBUS  MIRACULA  ET  visiones  elegantissime 
EXPRiMUNTUR.  (Mark  of  Madeleine  Boursette,  widow  of  Francois 
Regnault ;  Silvestre,  no.  396.)  'Parisiis.  Apud  viduamFrancisci  Reg/ 
nault,  via  Jacobaea.  —  1 552.' 

At  the  end  of  the  volume :  *  Parisiis.  Excudebat  Stephanus  Mesviere, 
in  sdibus  Vindocimis,  ex  adverso  collegii  Becodiani.  —  1552. 

Thirty ''twomo ;  45  signatures  {a  to  z,  A  to  Y)  of  eight  leaves  each, 
or  360  leaves  in  all.  Only  the  first  350  are  numbered ;  the  last  10,  con' 
taining  the  index,  are  without  folios.  Printed  in  very  small  roman  type. 

This  book  contains  120  engravings  inserted  in  the  text,  and  serving 
thus  '  to  illustrate,'  as  we  should  say  to-day,  or  '  to  express,'  as  the  pub-' 
lisher  says  on  the  title-'page,  the  Gospels  and  the  Apocalypse.  Those  re^' 
lating  to  the  Apocalypse,  22  in  number,  are  of  earlier  date  than  the 
others,  and  by  another  hand.  Of  those  which  illustrate  the  Gospels, 
many  are  signed  with  the  double  cross.  Although  several  of  them  relate 
to  subjects  previously  treated  in  the  octavo  Hours  of  1 527  and  the  six^ 
teenmo  Hours  of  1 529,  the  engravings,  while  they  are  of  nearly  the  same 
size,  are  different  none  the  less.  A  list  of  their  titles  follows:  — 

Folio  2  recto,  St.  Matthew  writing  his  Gospel. 

3  verso.  Adoration  of  the  Magi. 

4  verso,  The  Flight  into  Egypt  (signed). 

5  recto.  Massacre  of  the  Innocents  (signed). 

5  verso,  Baptism  of  Jesus. 

6  verso,  Jesus  carried  up  into  a  Mountain  (signed). 

8  recto,  Jesus  bids  Simon  and  Andrew  to  foUow  Him  (signed). 

12  recto,  Jesus  curing  the  Paralytic. 

13  verso,  Jesus  expelling  the  Money-changers  from  the  Temple 

(signed). 

I .  [Supra,  p.  2 1 8.] 


ICONOGRAPHY  247 

16  verso,  St.  John  in  Prison  (signed). 

1 8  recto,  The  Apostles  pardoned  by  Jesus. 

20  recto,  Parable  of  the  Sower. 

26  verso,  Jesus  teaching. 

27  verso,  Jesus  driving  out  the  Devils  (signed). 

30  recto,  The  Mother  and  Brothers  of  Jesus  (signed). 

31  recto,  Jesus  and  the  Ass. 

31  verso,  Jesus  entering  Jerusalem. 

32  recto,  Jesus  cursing  the  Fig-tree. 

33  recto,  Parable  of  the  Reapers  (signed). 

33  verso,  The  Vine^Dresser  slaying  the  only  Son. 

36  recto,  Jesus  likens  Himself  to  the  Hen. 

37  recto,  Jesus  arguing  with  the  Doctors  (signed). 
39  recto.  Parable  of  the  Virgins  (signed). 

41  verso,  The  Lord's  Supper. 

47  verso,  St.  Mark  writing  his  Gospel. 

50  recto,  The  Apostles  pardoned  by  Jesus  (as  on  p.  18). 

52  verso.  One  does  not  hide  the  Light  under  a  Bushel  (signed). 

53  recto,  Jesus  expelling  the  Devils,  which  enter  into  the  Swine 

(signed) . 

56  recto,  St.  John's  head  borne  by  Herodias. 

57  verso,  Jesus  walking  on  the  Water  (signed). 
59  recto.  The  deaf  and  dumb  Man  (signed). 

59  verso.  The  Miracle  of  the  Loaves. 

60  verso,  Jesus  curing  a  blind  Man  (signed). 
63  verso,  Jesus  blessing  the  little  Children. 
69  verso,  The  Magdalen  pouring  Spices. 

75  verso,  St.  Luke  writing  his  Gospel. 
77  recto,  The  Annunciation  (signed). 
77  verso.  The  Visitation  (signed). 
79  recto.  The  Nativity  (signed). 

79  verso,  The  Annunciation  to  the  Shepherds  (signed). 

80  verso.  The  Circumcision  (signed). 

81  verso,  Jesus  among  the  Doctors  (signed). 

82  recto,  St.  John  Baptist  preaching  (signed). 

83  recto.  The  Tree  not  bringing  forth  Fruits. 

84  verso,  Jesus  explaining  the  Writings  in  the  Temple  (signed). 

85  verso,  Cure  of  Simon's  Mother-in-law  (signed). 
87  recto,  Cure  of  the  Paralytic  (signed). 


GEOFROY  TORY 


88  verso,  Jesus  effecting  Cures. 

90  recto,  Jesus  curing  the  Widow's  Son  (signed). 

97  recto,  Jesus  sends  his  Apostles  forth  to  preach  the  Gospel. 

98  recto,  Jesus  discoursing  to  his  Disciples. 

98  verso,  Parable  of  the  Good  Samaritan  (signed). 
ICQ  verso,  Jesus  instructing  a  Woman  (signed). 
1 01  recto,  Jesus  dining  with  a  Pharisee  (signed). 

107  verso,  Return  of  the  Prodigal  Son. 

108  verso.  The  Rich  Man  in  Flames  and  Lazarus  in  Abraham's 

Bosom. 

1 10  recto.  Cure  of  the  ten  Lepers  (signed). 

1 1 1  verso.  The  Shepherd  and  the  Pharisee. 

112  recto.  The  Parable  of  the  Camel. 
112  verso,  Nicodemus  on  the  Tree. 

118  recto.  The  Lord's  Supper  (as  on  p.  41). 
1 1 8  verso,  Jesus  in  the  Garden  of  Olives. 
122  verso.  The  Disciples  at  Emmaus. 

124  recto.  The  Ascension. 

125  verso,  St.  John  writing  his  Gospel. 

126  verso.  The  Trinity. 

128  recto.  The  Marriage  at  Cana. 

128  verso,  Jesus  expelling  the  Money  •'Changers. 

131  recto.  The  Woman  of  Samaria. 

132  verso,  Jesus  curing  the  Son  of  a  Wood^sawyer  (signed). 

133  verso.  The  Pool  (signed). 

134  recto,  Jesus  answering  the  Doctors  (signed). 

135  verso,  same  as  on  p.  59.' 
137  recto.  The  Withered  Hand. 

140  recto.  The  Woman  taken  in  Adultery  (signed). 
142  recto,  Jesus  leaving  the  Temple. 
142  verso,  Jesus  curing  the  blind  Man. 

145  recto,  Jesus  in  flight. 

146  verso,  Resurrection  of  Lazarus  (signed). 

147  verso.  The  Priests  deliberating  as  to  putting  Jesus  to  Death 

(signed) . 

150  verso.  The  Lord's  Supper  (as  on  pp.  41  and  118). 
155  verso,  St.  Peter  cutting  offMalthus's  Ear. 

[The  author  forgets  that  he  has  listed  two  engravings  on  folio  59,  one  on  each  side  of  the 


ICONOGRAPHY  249 

1 56  recto,  Jesus  before  Caiaphas. 

1 57  verso,  Jesus  before  Pontius  Pilate. 

158  recto,  The  Scourging. 

1 58  verso,  The  Crown  of  Thorns. 

1 59  recto,  Jesus  beneath  the  Cross. 

1 59  verso,  Jesus  Crucified. 

160  verso,  Jesus  Entombed. 

1 6 1  verso,  The  Women  going  to  the  Tomb. 

162  recto.  The  Women  announcing  the  Resurrection  to  the 

Disciples  (signed). 

162  verso,  The  Magdalen  takes  Jesus  for  the  Gardener. 

1 63  recto,  The  Ascension  (signed) . 
312  verso,  St.  John  writing. 

321  verso,  St.  John  receiving  the  Revelation. 

323  recto,  Alpha  and  Omega. 

326  verso,  A  Throne  erected  in  Heaven. 
Then  followthe  engravings  of  the  Apocalypse,  impossible  to  describe, 
and  in  an  entirely  different  manner.  At  the  end  of  the  book  is  an  engrav 
ing  of  the  Christ  on  the  Cross,  surrounded  by  rays  of  light. 

III.  Le  premier  livre  de  la  Chronique  du  tres  vaillant  et 
REDOUTE  DOM  Flores  DE  Grece.  FoHo,  Jean  Longis,  1552. 
There  are  many  engravings  in  this  book,  but  only  one  of  them  is 

signed  with  the  Lorraine  cross.  That  one  is  on  foHo  90  verso,  and  repre^ 

sents  soldiers  before  a  tower.  It  is  reproduced  in  'L'Histoire  paladine,' 

folio,  Etienne  GrouUeau,  1555,  on  folio  56  verso. 

1553 

Ronsard's  'Les  Amours'  annotated  by  Marc^Antoine  Muret. 

Octavo,  printed  by  Maurice  de  la  Porte's  widow,  1 553 This  edition 
of 'Les  Amours'  is  embellished  with  a  portrait  of  Muret,  signed  with 
the  Lorraine  cross,  and  bearing  the  inscription  'An.  xxv,'  which 
proves  that  it  was  engraved  that  same  year,  for  Muret  was  born  ini  526.* 
This  portrait  reappears,  but  without  the  inscription,  in  several  other 
editions  of  Ronsard.  I  wiU  mention  particularly  the  quarto  edition  of 
his  works,  issued  in  1567  by  Gabriel  Buon,  successor  to  Maurice  de  la 
Porte's  widow,  and  the  foHo  issued  in  1 6  23  byNicolas  Buon,  Gabriel's  son. 

1 .  Bibliotheque  Nationale. 

2.  [The  inscription  would  seem  to  prove,  on  the  contrary,  that  the  engraving  was  made 
two  years  earlier,  or  in  i  5  5  i .  ] 


250 


GEOFROY  TORY 


1554 

Les  Observations  de  plusieurs  singularitez  et  choses  memc 
RABLES  TROUVEES  enGrece.  By  Pierre  Belon.  Quarto,  Paris,  1554. 
There  were  two  editions  of  this  book,  printed  by  Benoit  Prevost, 
for  Gilles  Corrozet  and  Guillaume  Cavellat,  respectively,  in  1553  and 
1554.  The  copies  in  Corrozet's  name  bear  his  mark,  signed  with  the 
Lorraine  cross.  There  is  a  portrait  of  Belon  signed  with  the  cross  at 
the  end  of  the  front  matter  in  the  edition  of  1554.  I  have  not  seen  it 
in  any  copy  of  the  edition  of  1 553,  which  leads  me  to  think  that  it  had 
not  then  been  engraved.  And,  in  effect,  the  fact  that  the  portrait  attrib' 
utes  to  Belon  the  age  of  thirty -'six  years  seems  to  show  that  it  was  not 
drawn  until  1554,  as  Belon  is  supposed  to  have  been  born  in  15 18. 
However  that  may  be,  the  portrait  appeared  afterward  in  several  other 
books  by  the  same  author,  and  particularly  in  his  'Histoire  de  la  nature 
desoiseaux,'foHo,  1555. 

1555 

Histoire  de  la  nature  des  giseaux.  By  Pierre  Belon.  Folio,Paris, 
G.  Corrozet,  1555. 

In  this  book  we  find,  in  addition  to  the  portrait  of  Belon,  seven  cuts 
of  birds,  signed  with  the  Lorraine  cross.  They  are:  the  osprey,  folio  96 ; 
the  sea-gull,  1 69 ;  the  bustard,  238 ;  the  pullet,  252 ;  the  loriot,  295 ;  the 
woodpecker,  304;  the  sparrow-hawk,  376.  Some  of  the  other  engrav-' 
ings  in  the  volume  are  signed  with  a  white  cross  on  a  black  ground. 

I.  Les  Singularitez  de  la  France  antarctique,  autrement 

NOMMEE  AmERIQUE,  ET  DE  PLUSIEURS  TERRES  ET  ISLES  DECOU^ 

VERTES  DE  NOSTRE  TEMPS.  Par  F.  Andre  Thevet,  natif  d'Angou^ 
lesme.  —  A  Paris,  chez  les  heritiers  de  Maurice  de  la  Porte,  au  clos 
Bruneau,  a  I'enseigne  S.  Claude.  —  1558. 

This  rare  and  curious  volume  is  a  quarto  of  8  preliminary  leaves, 
1 66  leaves  of  text,  and  2  of  index  unnumbered,  —  in  all,  46  signatures. 
The  privilege,  which  is  printed  on  the  verso  of  the  title-page,  is  dated 
Saint'Germain^en-'Laye,  December  18,  1556.  In  the  dedication,  ad' 
dressed  to  the  Cardinal  of  Sens,  Jean  Bertrand,  first  Keeper  of  the  Seals 
of  France,  Thevet  says  that  the  country  described  by  him  maybe  called 
the  fourth  part  of  the  world,  'for  that  no  one  has  as  yet  made  explora' 


ICONOGRAPHY  251 

tions  there,  all  geographers  thinldng  that  the  world  is  limited  to  that 
which  the  ancients  have  described  to  us.' 

There  are  41  engravings  in  the  text,  not  including  borders,  floriated 
letters,  and  Jean  Bertrand's  arms  on  the  title-'page.  Of  the  41,  only  seven 
are  signed  with  the  double  cross ;  four  of  these  represent  scenes  in  the  life 
of  the  American  savage, — they  are  on  folios  6  verso,  3 1  recto,  47  verso, 
and  151  recto;  a  fifth  represents  an  extraordinary  bird  called (45 
recto) ;  and  the  other  two,  plants, — the  pineapple  (89  verso),  and  the 
cassava  (113  verso).  The  last  three  appear  in  Andre  Thevet's  'Cosmos 
graphic  Universelle,'  published  in  1575,  in  two  volumes,  folio.'  The 
others  also  appear  in  that  work,  but  reengraved  on  a  larger  scale,  and 
without  signature. 

The  seven  engravings  signed  with  the  double  cross  cannot  have  been 
executed  prior  to  1556.  For  The  vet  set  out  for  the  New  World  on 
November  4,  1555,''  and  remained  there  four  months.  So  that  it  was 
not  until  the  early  months  of  1 556,  at  the  earliest,  that  the  engravings 
could  have  been  executed.  But,  as  the  book  did  not  appear  until  the 
beginning  of  1558,^  it  may  be  that  they  were  still  in  process  of  execu' 
tionini557. 

In  the  same  year  with  the  publication  of  Thevet's '  Singularites,'  an 
octavo  edition  appeared  at  Antwerp,  with  the  imprint  of  Christophe 
Plantin,  and  a  privilege  from  the  King  of  Spain,  dated  Brussels,  April 
20,  1558.  The  haste  with  which  this  reprint  was  prepared  shows  the 
interest  with  which  the  book  was  regarded.  The  woodcuts  of  the  AnV 
werp  edition  are  nothing  more  than  wretched  copies  of  those  in  the 
Paris  edition.  We  find  among  them,  however,  in  chapters  56,  58,  67, 
and  74,  cuts  of  animals  bearing  the  cipher  of  Jost  Amman. 

II.  HOR^  IN  LAUDEM  BEATISSIM^  ViRGINIS  MaRI^  AD  USUM  Rq/ 

MANUM.  (Here  the  mark  of  T.  Kerver,  without  the  cross.)  Parisiis, 
apud  Thielman  Kerver,  in  via  sancti  Jacobi,  sub  signo  Gratis. 
Duodecimo,  1 556.  Signatures  A  to  M,  and  A  to  G  vi.  Border  deco-* 
rated  with  birds,  with  the  small  engravings  of  1529.  M.  Niel  owns  a 

1 .  Vol.  ii,  folios  936  recto,  948  verso,  and  994  recto.  This  work  of  Thevet's  must  not  be 
confounded  with  that  geographer's  Cosmographie  du  Levant, the  fruit  of  an  earlier  journey,  two 
editions  of  which  had  been  pubHshed  at  Lyon,  in  1 5  5  4  and  i  5  5  6,  by  Jean  de  Tournes,  in  quarto, 
with  engravings  in  the  text. 

2.  See  the  details  of  this  voyage  of  Thevet  given  by  M.  Ferdinand  Denis  in  a  letter  printed 
at  the  beginning  of  a  work  by  M.  Demersay,  entitled  :  Etudes  economiques  sur  V Am'erique; 
8vo,  1 85 1. 

3 .  We  shall  see  in  the  next  paragraph  that  a  reprint  of  it  was  issued  in  April,  1558. 


252  GEOFROY  TORY 

copy  of  this  book  bound  with  Tory's  toolings.  It  has  the  Pot  Casse  on  the 
edges.  Another  copy,  belonging  to  M.  Portalis,  is  bound  with  the  pray 
ers  (in  French)  described  on  page  219. 

1557 

I,  Les  figures  et  portraicts  des  parties  du  corps  humain. — 
A  Paris,  par  Jaques  Kerver,  rue  S.  Jaques,  aux  deux  cochetz. — 1557. 
Folio,  containing  6 1  large  anatomical  plates,  several  of  which  are 

signed  with  the  Lorraine  cross,  and  dated  1 53 1 , 1 532,  or  1 533 .  This  col' 
lection  was  reprinted  in  the  same  form,  by  the  same  publisher,  in  1 575.' 

II,  Les  quatre  livres  d'Albert Durer,  peintre  et  geometrien 
excellent,  de  la  proportion  des  parties  et  pourtraitzdes 
corps  humains,  traduits  par  Loys  Meigret,  Lionnois,  de 

LANGUE  LATINE  en  FRAN9OISE. 

Folio ;  Paris,  chez  Charles  Perier ,  at  the  sign  of  the  Bellerophon,^  1 5 5  7  • 
In  the  same  year  Perier  published  an  edition  of  Durer's  work  in  Latin, 
similar  in  every  respect  to  the  French  edition.  It  is  entitled  '  De  Syme-' 
tria  partium  humanorum  corporum.'  I  am  unable  to  say  which  was 
printed  first. 

1559 

Psalterium  Davidicum  gr^colatinum.  .  .  .  Parisiis,  apud  /Egv 
dium  Gorbinum,  sub  insigne  Spei,  prope  collegium  Cameracense. 

—  1559- 

On  the  last  leaf :  '  Parisiis,  excudebat  Benedictus  Prasvotius,  ad  Stel^ 
lam  Auream,  via  Frumentello.' 

Twenty ''fourmo  of  278  numbered  leaves  of  text,  and  20  unnumbered 
preliminary  leaves ;  printed  in  red  and  black. 

This  little  volume,  printed  in  Greek  and  Latin,  two  columns  on  a 
page,  was  called  to  my  attention  by  M.  Lornier,  barrister,  of  Rouen. 
Opposite  the  first  page  of  text  is  a  small  engraving,  signed  with  the  Lor^ 
raine  cross,  representing  the  penance  of  David.  David  is  on  his  knees, 
with  a  book  before  him  and  his  harp  at  his  right  hand ;  he  is  gazing  at 
God  the  Father,  who  is  seen  in  the  sky  blessing  him.  Doubtless  this  en^ 
graving  appears  in  other  books  of  earlier  date.  It  is  73  millimetres  high 
by  55  wide. 

1.  See  what  has  been  said  concerning  this  volume,  on  pages  223  and  following,  supra. 

2.  This  sign  was  retained  by  Thomas  Perier,  Charles's  son.  See  Silvestre,  Marques  Typo- 
graphiques,  no.  386. 


ICONOGRAPHY 


253 


ENGRAVINGS  OF  UNCERTAIN  DATE. 

I.  Figure  de  l'ancienne  et  de  la  nouvelle  alliance. 

A  large  plate,  3  5  centimetres  in  width  by  2  7  in  height,  di  vided  into  two 
parts  by  a  tree  at  the  foot  of  which  is  Man,  thus  placed  on  the  boundary 
of  the  two  worlds.  The  tree  bears  only  withered  branches  on  the  left  side 
(the  old  a]liance),whereas,  on  the  right  (the  new  alliance),  it  is  green  and 
flourishing. 

In  the  compartment  at  the  left  we  see  Adam  and  Eve  in  the  Garden 
of  Eden.  Eve  is  offering  Adam  the  apple.  Beneath  them  is  the  word 
'peche.' '  Lower  still  is  a  skeleton  on  a  bier,  with  the  words  'la  mort' 
beneath.  Above  the  Garden  is  Mount  Sinai,  whereon  Moses  is  receive 
ing  the  tables  of  the  law ;  beneath,  on  the  right,  the  '  terrestrial  Jem-' 
salem/  wherein  are  devout  persons  being  devoured  by  serpents,  with 
the  serpent  of  brass  in  the  midst,  and  above  it  the  words, '  Similitvde  de 
la  ivstification.'  Moses  appears  on  the  right ;  at  the  left,  and  a  little  lower, 
Hagar  and  Ishmael ;  lower  still,  the  prophet  pointing  out  to  Man  Jesus 
on  the  Cross  at  the  right. 

In  the  compartment  at  the  right  we  see  God  standing  on  the  terres^ 
trial  globe,  with  the  words, '  lervsalem  celeste above, '  Mont  Sion,'  on 
which  stands  a  woman's  figure,  with  the  words  '  La  Grace '  over  her 
head.  An  angel  bearing  a  cross  descends  from  Heaven  (where  are  the 
words,  'Emmanvel  Dievavec  novs')  amid  rays  of  light  which  faU  upon 
the  woman.  Lower,  at  the  left,  is  another  angel  announcing  the  birth 
of  Christ  to  the  shepherds.  Near  by,  at  the  right,  the  Christ  on  the  Cross, 
with  the  words, '  nostre  ivstice,'  and  the  Paschal  Lamb,  with  the  words, 
'  nostre  innocence ' ;  below,  Jesus  coming  forth  from  the  tomb,  with  the 
words,  'nostre  victoire' ;  stiU  lower,  at  the  left,  St.  John  Baptist  points 
ing  out  to  Man  the  Christ  on  the  Cross ;  the  Forerunner  is  indicated  by 
the  words, '  Lenseignevr  de  Christ,'  in  a  cartouche ;  above  St.  John  are 
Sarah  and  Isaac. 

In  each  of  the  compartments  is  a  number  of  figures  which  appar^ 
ently  correspond  to  some  vanished  text.^  There  are  eight  in  the  one  at 
the  right  and  nine  in  the  other.  'Man'  is  marked  with  a  zero.  I  am 

1.  Pech'e  [sin]. 

2.  I  have  previously  had  occasion  to  comment  upon  the  extraordinary  custom  that  formerly 
prevailed  in  the  Cabinet  des  Estampes  of  removing  from  engravings,  etc. ,  every  sort  of  extrane- 
ous matter.  It  is  impossible  to  measure  the  extent  to  which  this  custom  has  impaired  the  value 
of  the  collection.  Unfortunately  it  is  followed  by  most  collectors  of  prints,  who  sometimes  de- 
stroy a  very  valuable  and  unique  volume  for  no  other  purpose  than  to  preserve  an  engraving 
unaccompanied  by  text. 


254  GEOFROY  TORY 

unable  to  give  the  origin  of  this  plate,  which  is  in  the  Cabinet  des  Es^ 
tampes  in  the  Bibliotheque  Nationale,  and  was  for  a  long  time  attri' 
buted  to  Jean  Cousin.  It  was  M.  Deveria  who  removed  it  from  that 
artist's  work  and  placed  it  with  Tory's,  whose  double  cross  it  bears,  at  the 
left,  below  the  cartouche  containing  the  words '  Lenseignevr  de  Christ.' 
I  believe  that  it  belongs  in  some  large  folio  Bible ;  for  I  have  seen  the 
subject  treated  in  a  more  or  less  summary  fashion '  on  the  title-pages 
of  several  Bibles,  in  French  and  other  languages.  I  will  mention  par' 
ticularly  the  following,  all  of  which  are  in  the  Bibliotheque  Nationale. 

( 1 )  A  French  Bible,  printed  at  Antwerp  in  1 53  0,  by  Martin  I'Empereur ; 

(2)  A  Bible  in  old  Saxon,  printed  at  Lubeck  in  1 533  by  Ludowich  Dietz 
(the  same  woodcuts  reappear  in  an  edition  in  Danish,  issued  by  the  same 
printer,  at  Copenhagen,  in  1 550) ;  (3)  A  Bible  in  Latin,  ft-om  the  text  of 
Erasmus,  published  in  1 543  or  1 544,  with  two  engravings  by  Cranach ; 
(4)  A  Bible  in  Flemish,  printed  at  Antwerp  in  1556. 1  will  mention  also 
Luther's  Latin  Commentaries  ('  enarrationes ')  on  the  Bible,  printed  at 
Nuremberg  in  1555,  with  an  engraving  on  the  title-page  dated  1 552. 

Whatever  its  source,  this  drawing  was  reproduced  in  1 562,  on  a  large 
enamelled  plate  in  tinted  grisaille,  attributed  to  Pierre  Rexmond,  enam^ 
eller,  at  Limoges.  The  sketch  for  this  plate  was  published  in  1 843,  after 
a  copy  in  the  collection  of  M.  Baron,  in  the  volume  entitled  *  Meubles 
et  Armes  du  moyen  age,'  a  large  quarto,  published  by  Hauser,  dealer  in 
prints  on  Boulevard  des  Italiens.^  It  is  no.  127  in  the  collection.  In  this 
drawing  the  groups  are  arranged  in  chronological  order,  the  circular 
form  of  the  plate  making  it  impossible  to  retain  the  arrangement  of 
the  engraving.  But  the  various  subjects  and  their  respective  inscriptions 
are  identical,  save  for  the  errors  in  orthography  with  which  the  Li' 
mousin  artist  has  besprinkled  the  latter.  The  two  Jerusalems  are  sepa^ 
rated  by  two  trees,  which,  starting  at  the  outer  border  of  the  plate, 
formed  of  Renaissance  arabesques,  join  their  heads  at  the  centre,  where 
there  is  a  medallion  containing  the  face  of  Marguerite  de  Valois,  sister 
of  Francois  I.^ 

1 .  We  find  some  features  of  it  in  the  frieze  engraved  by  Tory  for  the  Bible  published  by 
Robert  Estienne  in  1532.  See  p.  202,  supra. 

2.  This  collection  was  sold  in  January,  i  846,  and  the  plate  in  question  was  purchased,  for 
about  2000  francs,  for  M.  Cambaceres,  Grand  Master  of  Ceremonies  in  the  Imperial  house- 
hold, who  now  owns  it  [1857].  This  is  what  M.  Baron  says  of  it  in  his  sale  catalogue,  no. 
445 :  '  This  important  piece,  in  the  most  perfect  preservation,  merits  the  attention  of  collectors 
by  virtue  of  its  value  and  its  rarity.'  There  is  a  copy  also  in  the  Cabinet  of  Geneva. 

3.  According  to  the  catalogue  quoted  in  the  last  note,  the  reverse  of  the  plate  also  is  embel- 
lished with  arabesques. 


ICONOGRAPHY  255 

This  subject  has  been  treated  also  in  a  cameo  now  in  the  Bibliotheque 
Nationale,  but  in  a  very  summary  fashion  because  of  the  small  size  of 
the  piece,  which  is  only  57  millimetres  in  width  by  72  in  height.  All 
the  essential  details  of  the  engraving  are  reproduced.  A  description  of 
this  interesting  cameo  will  be  found  under  no.  317,  in  the  'Notice  du 
Cabinet  des  medailles,'  published  by  M.  Chabouillet,  one  of  the  conserve 
ators  of  that  priceless  collection.  It  has  been  reproduced,  too,  in  the 
collection  of '  Memoires  de  la  Societe  des  antiquaires  de  Morinie,'  and 
the  curious  feature  of  the  business  is  that  the  engraver  has  taken  for  his 
mark  the  arms  of  the  city  of  Saint^Omer,  which  are  the  Lorraine  cross. 

II.  Recueil  des  Rois  de  France,  leurs  couronne  et  maison, 

ENSEMBLE  LES  RENGS  DES  GRANDS  DE  FRANCE,  par  Jean  du  Til^ 

let,  sieur  de  la  Bussiere,  protonotaire  et  secretaire  du  roy,  greffier  de 
son  parlement. — Plus,  une  chronique  abregee  contenant  tout  cequi 
estadvenu  . .  .  entre  les  roys  et  princes  . . .  estrangers,  par  M.  Jean  du 
Tillet,  eveque  de  Maux.' 

Folio ;  one  volume  in  two  parts,  Paris,  J.  du  Puys,  1 580. 

This  volume  is  an  exact  reproduction  of  the  manuscript  preserved 
at  the  Bibliotheque  Nationale,  which  I  have  already  described.^  Al^ 
though  dedicated  to  Charles  IX,  the  book  was  prepared  for  publication 
at  a  much  earlier  date.  In  fact,  the  author  tells  us,  in  the  dedicatory  epis' 
tie,  that  he  had  presented  a  copy  to  Henri  II ;  indeed,  it  seems  that  he 
had  it  prepared  for  printing  at  the  insistence  of  the  King  and  Queen,  who 
had  promised  'to  take  care  of  the  expenses.'  This  fact  explains  why  aP 
most  all  the  portraits  of  the  kings  of  France,  from  Clovis  to  Francois  I, 
are  signed  with  the  Lorraine  cross.  These  portraits  are  copied  from  the 
miniatures  of  the  manuscript,  but  are  on  a  smaller  scale ;  frirthermore 
they  are  in  oval  instead  of  square  borders. 

Du  Tillet  died  in  1 570,  before  he  was  able  to  carry  out  his  project 
of  printing  this  work.  On  August  10, 1578,^  his  heirs  obtained  a  license 
to  publish  their  'late  father's'  work,  which  finally  appeared  in  1 580; 
in  fact,  one  part  is  dated  1579.  They  made  use  of  the  woodcuts  bearing 
the  Lorraine  cross.  Jean  du  Puys,  the  publisher,'*  added  to  the  book  some 
portraits  which  are  not  in  the  manuscript  (among  others  those  of  Henri 
II  and  Charles  IX),  and  which  consequently  do  not  bear  Tory's  mark. 

1 .  Brother  of  the  first-named  Jean. 

2.  [See  p.  169,  supra.] 

3.  And  not  August  20,  as  it  has  sometimes  been  printed. 

4.  The  'Avis  au  lecteur  '  is  by  him. 


256  GEOFROY  TORY 

Following  is  a  complete  list  of  the  portraits  contained  in  this  vol' 
ume,  with  indication  of  those  not  in  the  manuscript  and  of  those  signed 
with  the  Lorraine  cross. 

Folio  16,  Clovis  (signed). 

18,  Childebert;  added. 

19,  Clotaire  1  (signed). 

23,  Sigebert  (signed). 

24,  Chilperic  and  Fredegonde  (signed). 
28,  Dagobert ;  added. 

30,  Clovis,  son  of  Dagobert;  added. 

31,  Clotaire  III. 

32,  Childeric  II ;  added. 
35,  Dagobert  II ;  added. 

41,  Carloman  I;  added. 

42,  Charlemagne. 

44,  Louis  le  Debonnaire ;  modified. 
48,  Charles  le  Chauve  (signed). 

53,  Charles  le  Simple. 

54,  Raoul  (signed). 

56,  Louis  d'Outre  Mer. 
58,  Lothaire  (signed). 

75,  Philippe  I. 

76,  Louis  le  Gros. 
92,  Louis  le  Jeune. 

94,  Philippe^Auguste  (signed). 
10 1,  Louis,  pere  de  Saint  Louis  (signed). 
109,  Charles  II ;  added. 
112,  Saint  Louis. 
121,  Philippe  III ;  added. 

133,  Philippe  le  Bel  (signed). 

134,  Louis  le  Hutin. 

136,  Philippe  le  Long. 

137,  Charles  le  Bel  (signed). 

138,  Philippe  de  Valois. 
140,  Jean. 

157,  Charles  V. 
160,  Charles  VI. 

164,  Louis  XI. 

165,  Charles  VIII  (signed). 


ICONOGRAPHY  257 

166,  Louis  XII  (signed);  modified. 

167,  Francois  I  (signed);  modified. 

168,  Henri  II  and  Catherine  de  Medicis;  added. 

169,  Francois  II ;  added. 
1 69,  Charles  IX ;  added. 

It  wiU  be  seen  that  there  are,  in  aU,  i  o'  portraits  added  to  those  found 
in  the  manuscript.  Fortheother  princes  mentioned  in  the  work,  whose 
features  it  was  impossible  to  present,  empty  fi^ames  are  printed.  Natur-' 
ally,  none  of  the  portraits  added  to  du  Tillet's  book  by  the  editor  are 
marked  with  the  Lorraine  cross,  and  of  the  other  3 1 ,  there  are  only  15^ 
on  which  it  is  found. 

These  cuts  were  reproduced  in  a  great  many  later  editions  of  duTil' 
let's  work,  both  folio  and  quarto.  I  will  mention  particularly  those  of 
1586,  1587,  1602,  1607,  and  1608. 

The  volume  contains  also  many  engravings  of  shields  and  seals. 

III.  La  conference  ACCORDEe  ENTRE  LES  PREDICATEURS  CATHO'' 
LIQUES  DE  l'oRDRE  DES  CAPUCINS  ETLES  MINISTRES  DE  GeNEVE. 

Octavo;  Paris,  Denis  Binet,  near  Porte  S.  Michel,  1598, 

IV.  LesThesesquiont  esteaffigEes  danslaville  de Geneve. 
Octavo;  Paris,  Denis  Binet,  near  Porte  S.  Michel,  1598, 

On  the  title-pages  of  these  two  volumes,  both  of  which  are  in  the  Bib^ 
Ho'theque  Nationale,  there  is  a  woodcut  signed  with  the  Lorraine  cross, 
representing  a  cross  with  the  crown  of  thorns,  set  in  a  border  of  the  size 
of  a  five^franc  piece.  It  was  undoubtedly  engraved  long  before  1598. 

V.  Illustration  de  l'ancienne  imprimerie  troyenne. 
Quarto,  Troyes,  1850  and  1859.  The  first  fascicle  of  this  book,  which 

consists  of  a  collection  of  old  woodcuts  gathered  by  M.  Varlot  in  the 
printing-offices  of  Troyes,  contains  two  signed  with  the  Lorraine  cross. 
They  are  nos.  50  and  188.  The  first  represents  the  Coronation  of  the 
Virgin;  we  may  join  with  it  a  piece  in  the  same  manner  representing 
the  Visitation,  no.  5 1  in  the  same  collection ;  and  no.  5  (the  Virgin  hold'' 
ing  the  Child  Jesus)  of  the  fascicle  published  in  1 859 .  These  cuts,  which 
are  in  format  a  small  folio,  doubtless  formed  part  of  a  series  of  engrav 
ings  relating  to  the  Virgin  and  intended  for  a  book  of  Hours. 

MM.  Alexis  Socard  and  Alexandre  Assier,  in  their  work  entitled 
'  Livres  Hturgiques  du  diocese  de  Troyes '  (8  vo,  1 8 63 ) ,  also  give,  on  page 

I .  [According  to  the  list  there  are  1 1 .]  2.  [According  to  the  list  only  1 4.] 


258  GEOFROY  TORY 

79,  an  old  Troyes  woodcut,  small  folio,  signed  with  the  double  cross, 
representing  the  Descent  of  the  Holy  Ghost  on  the  Virgin  and  the 
Apostles.  It  is  135  millimetres  high  by  60  in  width. 

No.  188  of  M.  Varlot's  fascicle,  which  is  only  one  inch  high  by  two 
wide,  represents  a  harvest.  It  was  undoubtedly  one  of  a  series  of  engrave 
ings  illustrative  of  the  twelve  months.  MM.  Socard  and  Assier  saw  it  in 
a  bookof  Hours  printed  at  Troyes  in  1583, by  Jean  du  Ruan,  who  seems 
to  have  inherited  a  portion  of  the  woodcuts  of  Jean  Le  Coq,  printer, 
of  the  same  city.  We  find  also  in  M.  Varlot's  collection  two  woodcuts 
marked  with  the  letters  G.  T.,  which  may  have  been  Geofroy  Tory's 
earlier  mark,  before  he  had  adopted  a  special  symbol.  These  two  are 
no.  84,  in  the  crible  style,  and  no.  131,  in  the  Renaissance  style.' 

On  account  of  the  worn  state  of  these  cuts  it  is  impossible  to  say 
whether  they  are  originals  or  copies.  It  is  not  impossible,  however, 
that  they  were  executed  by  Tory  for  the  printer  Nicole  Paris,  or  rather 
for  Jean  Le  Coq,  whose  mark  he  engraved  also.^ 

VI.  Not  only  at  Paris  and  Troyes  do  we  find  woodcuts  with  the  Lor^ 
raine  cross;  we  find  them  also  at  Orleans,  at  Chartres,  at  Poitiers,  and 
even  at  Lyon,  although  the  last-named  city  had  a  most  flourishing  school 
ofengravingofitsown;  witness  the  illustrations  of  the  Bible  afi:er  Hoh 
bein,3  published  by  Jean  Frellon,  in  1 547,  and  those  of  Salomon  Bernard, 
published  bythedeTournesafi:er  1553.  But  the  works  executed  by  Tory 
for  Simon  de  Colines,  Robert  Estienne,  and  the  rest,  had  so  spread  his 
name  abroad,  that  there  was  not  a  printer  of  taste  in  France  who  did 
not  seek  the  honour  of  obtaining  some  work  of  our  artist.  In  this  way 
Jean  de  Tournes,  first  of  the  name,  who  was  unquestionably  one  of  the 
most  famous  printers  of  Lyon,  had  engraved  by  Tory,  or  by  his  widow, 
borders  and  pictures  in  considerable  numbers ;  unfortunately  we  find 
very  few  of  them  signed,  whether  because  Tory's  mark  was  afiierward 
removed  fi-om  the  others,  or  because  he  omitted  to  place  it  upon  them, 
in  accordance  with  the  wish  of  Jean  de  Tournes;  for  in  those  days  print' 
ers  were  very  desirous  to  appropriate  the  engravings  that  they  ordered, 
especially  at  Lyon,  where,  nominally  at  least,  no  other  engraver  was 
known  than  Salomon  Bernard ;  moreover,  it  is  well  to  note  that  that 
artist,  none  of  whose  work  is  signed,  is  known  only  because  his  name 

1 .  See  what  I  have  said  on  this  subject  on  p.  173,  supra. 

2.  See  infra,  §  III,  '  Lc  Coq.* 

3.  These  engravings  are,  as  is  well  known  to-day,  by  Luczelburger,  of  Basle,  Holbein's 
regular  engraver. 


ICONOGRAPHY  259 

was  afterward  published  by  the  printers,  in  the  very  interest  of  their 
publications. 

However,  I  propose  to  give  a  list  of  the  pieces  signed  with  the  Lor^' 
raine  cross  which  I  have  seen  in  books  published  by  the  de  Tournes, 
that  is,  by  Jean  I  and  Jean  II,  his  son ;  for  it  is  impossible,  in  default  of 
any  sort  of  a  catalogue,  for  me  to  decide  what  ones  are  attributable  to 
each  of  them.  As  a  matter  of  fact,  I  should  be  justified  in  confining 
myself  to  the  second,  if  he  had  not  himself  said  that  he  used  woodcuts 
belonging  to  his  father.  And,  in  truth,  although  we  know  of  no  books 
published  by  the  latter  with  engravings,  except  his  edition  of  Petrarch 
of  1545  (reprinted  in  1547),  and  his  book  of  Chiromancy  and  Physiog' 
nomy,  also  of  1545,  octavo,  everything  seems  to  indicate  that  those 
marked  with  the  Lorraine  cross  were  made  for  Jean  I,  who  died  about 
1550. 

The  first  book  that  I  shall  mention  is  an  octavo  volume,  without 
title,  described  thus  by  M.  Didot  in  his '  Essai  sur  la  Gravure,'  col.  235 ; 
'Pamphlet  without  title,  printed  on  one  side  only,  with  this  imprint  on 
page  I :  "  A  Lion,  Ian  de  Tournes,  1 55 1 ."  The  border,  composed  of  ar'' 
abesques  in  white  on  a  black  ground,  has  at  the  foot  the  Lorraine  cross. 
Twenty ''two  of  these  engravings  represent  scenes  from  the  theatre  of 
the  ancients ;  the  ninth  bears  the  Lorraine  cross.'  This  pamphlet  was 
reprinted  in  1556,  as  we  shall  see  in  a  moment. 

The  second  book  that  I  shall  mention  is  an  octavo  volume,  without 
date, entitled:  'Thesaurus  amicorum,' which  is  in  the  Bibliotheque Na' 
tionale.  It  contains  three  series  of  borders :  ( i )  Borders  with  arabesques 
in  black  on  a  white  ground  (one  of  them  is  signed  with  a  very  small 
Lorraine  cross) ;  (2)  Borders  with  arabesques  in  white  on  a  black  ground 
(one  of  these  also  is  signed  with  a  small  white  cross) ;  (3)  Borders  with 
grotesque  subjects,  licentious  and  otherwise.  These  last,  none  of  which 
are  signed,  represent  figures  analogous  to  those  that  are  found  in  the 
'Songes  drolatiques'  attributed  to  Rabelais,  and  seem  to  be  modelled 
upon  them. 

In  the  first  part  of  the  book,  the  borders,  32  in  number,  are  empty' ; 
in  the  second  part,  they  enclose  medallions  of  famous  characters  of  an^' 

I .  These  pages  were  intended  to  be  used  as  an  album.  I  have  seen  a  very  valuable  copy  at 
M.  Potier's  bookshop  ;  he  bought  it  of  M.  Gaullieur,  who  has  described  it  in  his  Etudes  sur 
I' imprimerie  de  Geneve,  p.  207.  This  copy,  which  w^as  arranged  by  Durand  the  bookseller, 
who  emigrated  to  Geneva  for  religious  reasons,  has  no  title-page  and  contains  only  the  empty 
pages,  that  is  to  say  those  with  borders  alone,  within  which  Durand' s  friends,  the  most  illus- 
trious leaders  of  the  Reformation  —  de  Beze,  Goulard,  etc.  —  have  inscribed  each  some  sen- 


26o 


GEOFROY  TORY 


cient  times,  with  mottoes  in  all  sorts  of  languages.  There  are  96  of  these 
portraits.  They  were  reproduced,  with  many  others,  in  a  book  printed  in 
1 559,  under  the  title, '  Insignium  aliquot  virorum  icones'  (octavo).'  In 
the  dedication,  to  G.  Tuffano,  'gymnasiarcha  Nemausensi,'  Jean  de 
Tournes,  second  of  the  name,  the  printer  of  the  book,  informs  us  that  he 
undertook  it  in  order  to  utilize  the  woodcuts  left  by  his  father.  '  Cum 
pater  jamdudum  haberet  hasce  icones  inutiles  ne  omnino  perirent,  h^ 
pauca,quas  huicopusculo  insunt,  ex  variis  auctoribus  accumulavi.  . .  .' 
In  this  book  the  medallions  number  one  hundred  and  forty^three;  none 
are  signed,  but  they  are  altogether  in  Tory's  manner. 

These  same  medallions,  as  well  as  the  borders  of  the  *  Thesaurus  ami' 
corum,'  have  been  used  in  a  multitude  of  other  publications,  which  are 
known  to  us  only  through  detached  fragments.  I  will  mention  particu' 
larly  eight  leaves  preserved  in  the  Cabinet  des  Estampes,  printed  on  one 
side  only,  having  a  border  with  a  portrait  on  each  page. ^  Also,  four  leaves 
without  borders,  on  each  of  which  two  portraits  are  printed,  side  by  side 

As  for  the  borders,  they  appear  again, — first,  in  the  edition  of  Marot's 
Psalms,  published  by  Jean  de  Tournes  in  1557,  in  octavo ;  and  second, 
with  less  impropriety,  in  the  various  editions,  both  in  French  and  in 
Italian,  of  Ovid's  'Metamorphoses,'  issued  by  the  same  printer. 

Jean  de  Tournes  published  also,  in  1 556,  a  small  octavo  volume  of 
specimens  of  his  woodcuts,  printed  on  one  side  only.  This  volume,  which 
is  well  known  to  collectors,  and  which  may  be  found  in  the  Cabinet 
des  Estampes,  has  on  the  first  page  these  words  alone : '  A  Lion,  Ian  de 
Tournes, M .  d  . l  vi .'  *  This  page  has  a  border  of  white  arabesques  on  a  black 
ground,  in  which  the  Lorraine  cross  is  perfectly  visible,  at  the  foot .  There 
are  22  engravings  representing  scenes  from  the  theatre  of  the  ancients. 

tence.  In  some  verses  which  come  first,  and  which  are  admirably  engrossed  on  parchment, 
Durand  tells  us  that  he  wrote  them  in  1583,  without  spectacles,  notwithstanding  his  great  a^e 
and  '  the  gout  in  his  fingers.' 

1 .  Bibliotheque  Nadonale. 

2.  It  may  be  that  this  fragment  belongs  to  a  collection  cited  by  M.  Brunei  {Manuel  du 
Libraire,  vol.  iv,  col.  850),  under  the  title,  Pourtraictx  divers,  small  octavo,  Lyon,  Jean 
de  Tournes,  i  557,  as  containing  63  plates,  including  the  dtle-page.  M.  Brunet  then  gives  a 
description  of  this  collection,  which  cannot  possibly  fit  it.  'These  plates  represent  factories, 
animals,  scenes  of  divers  sorts,  mythological  subjects,  and  architectural  designs.'  This  descrip- 
tion evidently  belongs  to  the  volume  of  1556  mentioned  on  the  next  page. 

3.  These  portraits  and  many  other  woodcuts  of  the  de  Tournes,  which  are  still  preserved 
in  the  Fick  Press,  at  Geneva,  have  lately  been  reproduced  in  a  sumptuous  publication  entitled : 
Anciens  bois  de  P  imprimerie  Fick,  folio,  Geneva,  1 864.  It  contains  many  engravings  of  Petit 
Bernard. 

4.  I  have  already  cited  (page  259),  on  the  authority  of  M.  Didot,  an  edition  of  this  book 
under  the  date  of  i  5  5 1 ,  but  I  doubt  its  existence. 


ICONOGRAPHY 


The  ninth  bears  the  Lorraine  cross.  In  the  midst  of  this  series,  on  leaf  2 1 , 
is  a  piece  which  does  not  belong  to  the  series ;  it  represents  a  dog  lying 
on  a  cushion.'  After  this  series  come  various  engravings  which  we  find 
in  Maurice  de  Seve's  '  Saulsaye '  (octavo,  Lyon,  1 547),  in  Ovid's  '  Meta^ 
morphoses,'  and  the '  Hymnes  du  Temps '  of  GuiUaume  Gueroult,  which 
were  printed  subsequently ;  then  1 1  plates  bearing  two  figures  facing 
each  other,  taken  from  a  work  on  Chiromancy  and  Physiognomy,  by  In^ 
dagine  (octavo,  Lyon,  1 549) ;  5  engravings  from  the  edition  of  Petrarch 
issued  by  the  first  Jean  in  1545 ;  and  9  small  miscellaneous  subjects.^ 
The  Cabinet  des  Estampes  also  contains  one  leaf  of  a  folio  specimen  of 
the  woodcuts  of  the  de  Tournes,  in  which  we  find  again  the  plates  of  the 
Petrarch.  It  lacks,  however,  the  Lac  d' Amour,  which  is  on  folio  5  of 
the  collection  we  are  describing,  and  is  altogether  in  the  manner  of  the 
seven  epitaphs  published  by  Tory  in  1 530.^ 

I  will  not  enumerate  here  the  other  books  with  engravings,  of  later 
date,  published  by  the  second  Jean  de  Tournes,  because  there  is  nothing 
to  justify  me  in  attributing  them  to  Tory's  workshop ;  but  one  may  con' 
elude  from  what  I  have  said  heretofore,  that  many  engravings  of  the 
printers  of  Lyon,  hitherto  attributed  to  Salomon  Bernard,  called  Le  Petit 
Bernard,  came  from  Tory's  establishment.  Indeed,  we  may  well  wish 
that  Le  Petit  Bernard  might  be  relieved  of  the  enormous  mass  of  engrav- 
ings which  have  been  attributed  to  him  for  lack  of  information  concern' 
ing  them,  but  which  render  uncertain  the  attribution  of  those  which 
most  certainly  belong  to  him."^ 

1.  The  first  24  pages  of  this  collection  are  bound  with  an  edition  of  Claude  Paradin's  Quad- 
rins  historiques,  published  by  Jean  de  Tournes,  in  1558. 

2.  This  book  was  reprinted  in  i  557,  with  the  title  Pourtraictz  Divers  ;  see  p.  260,  notei . 

3.  [See  pp.  201-202,  supra.] 

4.  For  instance,  the  anonymous  author  of  a  book  entitled  Notice  sur  les  Graveurs,  printed 
at  Besan^on  in  1807  (2  vols.,  octavo),  attributes  to  Salomon  Bernard,  whose  period  of  ac- 
tivity he  places  between  i  550  and  1 580  (vol.  i,  p.  63 ),  the  engravings  of  Petrarch's  Triumphs, 
which  appear  in  an  edition  of  l  545,  and  a  Resurrection  of  the  Dead,  dated  i  547  (vol.  i,  p. 
64),  which  dates  are  inconsistent  with  those  mentioned  above ;  he  also  attributes  to  him  (vol. 
i,  p.  65)  the  theatrical  scenes  which  we  have  with  good  reason  ascribed  to  Tory,  whose  cross 
appears  on  one  of  them ;  and,  lastly,  he  attributes  to  him  the  story  of  Psyche,  in  3  z  duodecimo 
cuts,  and  the  medallions  of  Jacques  Strada' s  Epitome  des  Antiquit'es  (  Lyon,  I  5  5  3  ),  his  author- 
ship of  which  is  very  doubtful.  But  there  is  no  question  at  all  concerning  the  following  pieces, 
which  certainly  belong  to  Salomon  Bernard  :  — 

I.  The  figures  of  the  Bible,  to  the  number  of  251,  reprinted  very  frequently  after  1553.  In 
an  edition  of  1680,  printed  by  Samuel  de  Tournes,  at  Geneva,  whither  the  second  Jean  with- 
drew about  1 580,  because  of  his  religion,  is  the  following  note :  '  The  figures  that  we  offer  you 
here  are  from  the  hand  of  an  excellent  craftsman,  known  in  his  day  under  the  name  of  Salomon 
Bernard,  called  Le  Petit  Bernard,  and  have  always  been  held  in  esteem  by  those  who  are  learned 
in  works  of  this  sort.' 


262 


GEOFROY  TORY 


Our  list  includes  only  engravings  on  wood;  but  I  have  no  doubt  that 
Tory  engraved  also  on  metal,  and  not  alone  letters,  which  we  should  nat'- 
urally  expect  from  Garamond's  master,  but  plates  as  well.  Now  that  the 
eyes  of  collectors  are  about  to  be  opened,  I  should  not  be  surprised  if  some 
one  should  discover  one  marked  with  his  cross. '  To  forward  such  disco  v 
ery  I  will  insert  the  estimate  of  Tory's  draughtsmanship  formed  by  M. 
Renouvier,  who  is  so  competent  a  judge  of  such  matters. 

•Theplatesof  "  Champ  fleury,"  the  first  of  whichis  dated  1 526,  have 
an  Italian  after/taste,  which  manifests  itself  by  the  correctness  of  the  fig' 
ures,  and  by  their  costumes ;  but  the  delicacy  of  expression,  the  fineness 
of  line,  distinguish  them  clearly  from  the  Venetian  vignettes.  The  vig/ 
nettes  of  the  Hours  published  between  1524  and  1543,  varying  in  execu' 
tion,  always  delicate  and  with  little  shading,  exhibit  a  degree  of  taste 
which  the  Parmesan  School  sometimes  achieves ;  but  by  the  delicacy  of 
their  execution  they  deserve  the  praise  bestowed  upon  thembyDibdin. 
Even  if  the  figures  are  slightly  confiised  in  their  attitudes  and  in  their 
draperies,  or  defective  at  some  of  the  extremities ,  still,  the  spirited  draw 
ingof  the  heads,  and  the  arrangement  of  the  scenes,  amid  charming  ar^ 
chitectural  designs,  or  in  very  restricted  fields,  show  that  our  engravers 
of  vignettes  lost  nothing  of  their  talent  in  passing  from  gothic  to  italic 
letters,  and,  despite  the  name  of  the  latter,  it  is  certain  that  Italy  never 
produced  any  like  them.  Simplicity  took  the  place  of  Gothic goguenar- 
derie;  their  expression  is  in  the  most  refined  French  sentiment  of  the 
period.^ 

*  I  seem  to  recognize  Geofiroy  Tory's  style  in  the  "  Tableau  de  Cebes," 

n.  Claude  Paradin's  Devises  h'eroiques,  containing  184  engravings,  besides  a  border  on  the 
title-page.  Large  octavo,  Jean  de  Tournes,  i  5  5  7  (  Bibliotheque  Nationale) .  The  license  at  the 
end  of  the  volume  discloses  the  titles  of  several  other  volumes  v/hich  Jean  de  Tournes  was  then 
intending  to  publish,  particularly  the  two  following,  which  appeared  the  same  year. 

in.  The  Metamorphoses  of  Ovid  ;  octavo,  1557;  178  engravings. 

IV.  U  Astronomique  Discours,  by  Jacques  Bassentin ;  folio,  1557;  with  a  large  number  of 
astronomical  plates. 

V.  Hy nines  du  temps,  by  Guillaume  Gueroult ;  quarto,  i  560 ;  88  pages,  with  borders  and 
drawings.  In  the  avis  au  lecteur  we  read :  'I  hope  that  you  will  find  some  pleasure  herein,  for 
that  the  whole  is  the  work  of  a  goodly  hand  ;  for  the  invention  [of  the  engravings]  is  of  M. 
Bernard  Salomon,  an  excellent  painter  as  there  has  ever  been  in  our  hemisphere.' 

VI.  Virgil's  ^neid,  French  translation;  quarto,  I  560;  with  1 2  vignettes. 

VII.  A  book  of  Thermes,  in  eighteen  orders;  printed  at  Lyon  in  i  572,  by  Jean  Marcorelle. 
—  At  the  tenth  t  her  me  is  a  genie  carving  on  a  shield  the  letter  S,  the  initial  of  Bernard's  bap- 
tismal name. 

A  large  number  of  vignettes,  and  of  letters  in  grisaille,  used  by  the  printers  of  Lyon,  are  also 
attributed  to  this  artist. 

1 .  See  what  I  have  had  to  say  on  this  subject  apropos  of  Baif's  Annotations,  supra,  p.  208. 

2.  Des  Types  et  des  Manieres  des  maitres graveurs,  ttc,  1 6th  century,  pp.  167,  168. 


ICONOGRAPHY  263 

published  by  Denis  Janot  and  Gilles  Corrozet  in  1543,  the  vignettes  of 
which  are  often  attributed  to  Jean  Cousin.  As  for  Tory's  drawing,  I 
should  recognize  it  through  several  layers  of  wood,  by  the  delicately 
drawn  heads,  the  slender  figures,  the  split  extremities,  to  say  nothing 
of  the  floriated  letters  and  the  borders,  in  which  the  Italian  grotesques 
are  mingled  with  natural  vegetations,  and  in  which  he  has  often  en/ 
graved  his  name,  his  Pot  Casse  and  his  mottoes .  In  Tory's  vignettes  there 
are  doubtless  qualities  that  are  more  subtle  than  great,  but  they  are  our 
qualities.' 


SECTION  in.  MARKS  OF  BOOKSELLERS  AND  PRINTERS 


SIGNED  WITH  THE  LORRAINE  CROSS. 


►rt  The  inventor  of  the  Pot  Casse  was  chosen 
by  his  confreres,  in  preference  to  all  other 
engravers,  to  engrave  their  private  marks. 
They  had  realized  the  force  of  his '  kindly 
exhortation  to  practice  and  employ  them' 
selves  in  goodly  inventions,' '  and  had  been 
impressed  by  the  perfection  with  which  he 
executed  that  species  of  engraving,  which 
he  had  completely  transformed.  For,  in  lieu 
of  the  coarse  vignettes  with  a  black  back-* 
ground,  on  which  the  design  stood  out  in 
white,  as  if  cut  with  a  die,  Tory  had  gradually  introduced  into  thesa 
woodcuts  aU  the  delicacy  of  the  Italian  engravings.  The  earliest  ones  of 
his  of  which  we  have  any  knowledge  are  in  the  crible  style,  which  the 
Middle  Ages  had  handed  down  to  him ;  but  he  soon  rejected  that  style  and 
not  only  adopted  a  new  manner  of  engraving,  but  altered  the  arrange^ 
ment  of  the  designs  that  were  entrusted  to  him.  This  fact  is  especially 
manifest  if  we  compare  the  original  mark  of  the  de  Marnefs  (Silvestre, 
'  Marques  Typographiques '  no .  1 5 1 )  with  the  one  that  bears  the  motto, 
'Principivm  ex  fide,  finis  in  charitate'  (Silvestre,  no.  1043).  Instead 
of  the  roughly  drawn  PeHcan  nourishing  from  its  vitals  its  still  more 
roughly  drawn  young,  in  a  nest  perched  on  a  tree  of  which  the  leaves  are 
larger  than  the  trunk,  we  have,  in  the  second  engraving  [given  above], 
an  entirely  new  composition,  of  which  both  design  and  execution  are 
irreproachable.  In  the  face  of  such  results,  we  should  not  be  surprised 
by  the  predilection  of  the  printer-'booksellers  for  Tory ;  they  deemed  it  a 
duty  to  employ  a  confrere  who  poetized  their  profession :  to  them  it 
was  a  question  of  esprit  de  corps  and  of  patriotism  alike. 

That  is  why  we  have  so  many  typographical  marks  signed  with  the 

I .  Champ  fieury,  folio  4.3  verso. 


266 


GEOFROY  TORY 


Lorraine  cross.  We  propose  to  enumerate  all  of  those  which  we  have 
actually  had  before  us.  As  it  was  impossible  to  arrange  them  chrono' 
logically,  we  have  adopted  the  alphabetical  order. 

Alard  (Guillaume),  bookseller  at  Paris  in  1 550.  See  Fezandat. 


A  S  C  E  NSlANVM-^(^ 


Bade  (Conrad),  printer  and  bookseller  at  Paris  from  1546  to  1 560, 
when  he  withdrew  to  Geneva  for  religious  reasons .  —  One  mark,  which 
appears  on  the  first  edition  of  Theodore  de  Beze's '  Poemata  '(1548);  the 
volume  contains  also  a  portrait  of  the  author  signed  with  the  double 
cross.  Conrad's  mark,  like  that  of  his  father,  Josse  Bade,  represents  a 
printing-'press.  It  contains  also  the  words  'Prelum  ascensianum' ;  but, 
instead  of  being  inscribed  in  a  cartouche  on  the  press,  they  are  in  two 
cartouches,  one  at  the  top,  the  other  at  the  bottom,  of  the  border  {Sih 
vestre,  no.  867).  When  Conrad  betook  himself  to  Geneva,  Eloi  Gibier,' 
a  printer  of  Orleans,  bought  the  mark.  It  afterwards  passed  to  Fabian 
Hotot,  a  printer  in  the  same  city,  who  was  using  it  in  1609 ;  but  before 
using  it  he  had  the  word  '  Ascensianum '  removed. 

Bessault  (Thibaut,  and  Jean,  his  son),  booksellers  at  Paris.  See 
Regnault  (Barbe). 

BoNFONS  (Jean),  bookseller  at  Paris  from  1 548  to  1572. — One  mark 
(Silvestre,  no.  1 25),  representing  a  dove  on  a  tree,  within  acircle  formed 

I .  Eloi  Gibier  used  previously  a  similar  mark,  which  bore  the  following  device:  '  In  sudore 
vultus  tui  vesceris  panetuo. '  (See  Silvestre,  no.  544.  )  He  used  it  particularly  at  the  end  of  the 
Coutumes  generales  d''  Or  leans,  i  570. 


ICONOGRAPHY  267 

by  a  serpent,  and  on  the  outside  of  the  circle  this  sentence  from  the  Bible : 
'Estote  prudentes  sicut  serpentes,  et  simplices  sicut  columbas.'  I  have 
seen  it  in  a  quarto  edition  of 'Le  Petit  Jehan  de  Saintre/  published  by 
Bonfons  in  1 553,  in  gothic  type. 

BuGN  (Gabriel).  See  Porte  (Maurice  de  la). 

Calvarin  (Simon),  printer^bookseller  at  Paris,  from  1553  to  1593. 
Two  marks,  representing  a  woman,  seated,  surrounded  by  the  parapher-- 
naliaof  the  arts  and  sciences,  and  holding  in  one  hand  a  palm-'tree  deco*- 
rated  with  three  wreaths.  I  have  seen  one  of  these  marks,  the  larger,  in 
an  edition  of  RodolpheAgricola's  book  entitled:  'Delnventionedialec 
tica  libri  tres'  (quarto,  1 558), on  the  title^pageof  whichisthis  imprint : 
'Parisiis,  ex  officina  Simonis  Calvarini,in  vico  Belovaco,ad  Virtutis  in/- 
signe .' '  The  smaller  one  appears  at  the  end  of  a  book  entitled : '  Conserv- 
ation de  sante  et  prolongation  de  vie,  etc.,  compose  premierement  par 
noble  homme  H.  [Hieronime]  Monteux,  conseiller  et  medecin  ordinaire 
du  roi  Francois  11,  et  nouveUement  traduit  en  nostre  langue  frangoise 
par  maistre Claude deValgelas,docteur  medecin, etc.  Paris,  chez  Simon 
Calvarin,  rue  Saint' Jacques,  a  la  Rose  blanche  couronnee,  1572.'  This 
is  a  1 6mo,  of  which  there  is  a  copy  in  the  BibKotheque  Nationale.  This 
Simon  was,  I  have  no  doubt,  a  son  of  Prigent  Calvarin,  printer  at  Paris 
from  152410  1 582,  whose  mark  is  very  different  (Silvestre,no.  137).''  It 
represents  two  persons  holding  a  shield  which  hangs  from  a  vine,  with 
these  sentences  surrounding  them:  *Deum  time,*  'Pauperes  sustine,' 
'Finem  respice,'  'Prigent  Calvarin.'  Simon,  having  set  up  for  himself 
during  his  father's  lifetime,  had  to  adopt  a  different  mark. 

Chaudiere  (Regnault), bookseller  at  Paris  from  151610 1546,in 
the  latter  year  succeeded  to  the  printing  business  of  Simon  de  Colines, 
whose  marks  'au  Temps'  he  used  thereafter.  He  had  a  new  one  en^ 
graved  in  Tory's  establishment,  with  the  same  figure,  but  with  a  slightly 
different  motto :  it  reads : '  Virtus  sola  aciem  retundit  istam.'  This  mark 
appears  in  the  edition  of  the  comedies  of  Terence  printed  in  1546.  See 
Colines  (Simon  de). 

Colines  (Simon  DE),printer''bookseUerat  Paris  from  1520  to  1546. 
Four  marks  at  least.  See  the  two  already  described  in  the  preceding  sec 

I.  Bibliotheque  Nationale.  2.  lirxmcX.yManuel de  Lil>raire,vo\.\\,  co\.  1629. 


268 


GEOFROY  TORY 


tion,  under  15  20-1 521,  as  forming  a  part  of  title-pages,  and  numbers 
80  and  329  of  M,  Silvestre's  'Marques  typographiques.'  The  last  two 
passed  in  1546  into  the  handsofRegnaultChaudiere,  a  bookseller  since 
1 5 1 6 .  Chaudiere  had  married  Colines's  daughter  by  t  he  widow  of  Henri 
Estienne,  and  by  virtue  of  the  connection  inherited  his  father'in4aw's 
printing-office  and  bookshop.  He  himself  printed,  in  1 546-1 547,  under 


the  Latin  name  Calderius,  an  edition  of  the  comedies  of  Terence ' ;  at 
the  end  is  M.  Silvestre's  no.  329,  which  (like  no.  80)  represents  Time 
armed  with  a  scythe,  and  this  devise  in  a  scroll :  '  Hanc  aciem  sola  re^ 
tundit  virtus.'  Chaudiere,  who  had  previously  used  another  mark  (Sil^ 
vestre,  no.  96),  employed  thenceforth  this  one  with  the  figure  of  Time, 
and  handed  it  down  to  his  successors.^  In  1548  he  published  an  octavo 
catalogue  of  his  own  books  and  those  of  Simon  de  Colines — 'turn  ab 
Simone  CoHnasi,  turn  ab  Calderio  excusi . '  ^  The  following  is,  in  my  opin^ 
ion,  the  order  in  which  Simon  de  Colines's  various  marks  were  engraved 
by  Tory:  In  the  first  place,  in  1520,  the  one  with  the  rabbits,  or  conils, 
which  it  has  been  said  that  Colines  adopted  as  a  play  upon  his  own  name ; 
but  this  conjecture  seems  to  me  the  more  improbable  because  these 
same  rabbits  had  been  used  on  the  sign  of  Henri  Estienne's  shop  as  early 
as  1 5 o 2 . Howe  ver  that  may  be,  Colines  seems  to  have  retained  this  mark 

1 .  This  very  rare  and  valuable  edition  contains  a  dissertation  on  Latin  accents.  Bibliotheque 
Nationale. 

2.  See  Silvestre,  nos.  286  and  287. 

3.  See  Mattaire,  Annales  typographiques,  vol.  iii,  part  1  A,  p.  147. 

4.  See  the  subscription  of  the  first  book  published  by  him  in  conjunction  with  Wolfgang 
Hopyl,  under  the  title,  Artificialis  introductio  Jacobi  Fabri  Stapulensis,  etc. ;  folio,  1 502.  This 
book  is  in  the  Bibliotheque  Sainte-Genevieve. 


ICONOGRAPHY  269 

during  all  the  time  that  he  occupied  Henri  Estienne's  house.  When  he 
turned  over  that  abode,  in  1525,  to  Robert  Estienne,  who  established 
himself  in  business  on  the  paternal  premises,  Colines  went  a  little  far^ 


♦SDECOLINES 


ther  down  rue  de  Beauvais,  and  took  for  his  sign  the  '  Soleil  d'or,'  which 
appears  on  the  second  mark;  finally,  in  1528,  he  adopted  the  one  with 
the  figure  of  Time,  which  was  afi:erwards  adopted  by  his  son^in^law, 
Regnault  Chaudiere. 


GIIXES  ACORRPZET-4  <» 


CoRRozET  (GiLLEs), bookseller  at  Paris  fi^om  1 538  to  1568, — One 
mark,  representing,  by  way  of  allusion  to  the  name  of  its  owner,  a  rose 


270  GEOFROY  TORY 

upon  a  heart  ('cor'), and  with '  Gilles  Corrozet'  at  the  foot  (Silvestre,no. 
145).  This  mark,  which  I  have  seen  on  a  book  of  1539,'  was  undoubt' 
edly  the  first  that  Corrozet  used.  It  descended  to  his  heirs,  and  his  grand" 
son  Jean  was  still  using  it  a  century  later,  on  the  'Tresor  des  histoires 
de  France,'  the  work  of  another  Gilles  Corrozet,  which  Jean  reprinted 
several  times  between  1622  and  1644,  J^^^  simply  removed  from  the 
mark  his  grandfather's  Christian  name,  regardless  of  the  lack  of  sym^ 
metry  in  the  engraving  caused  by  this  subtraction.  So  that  here  was  an 
engraving  that  was  in  use  more  than  a  hundred  years ;  it  is  an  interesting 
example  of  the  durability  of  these  woodcuts. 

CoTEREAU  or  CoTTEREAU  (Richard),  bookseller  at  Chartres;  — 
(Philippe),  bookseller  at  Blois. 


David  (Mathieu),  printer^bookseller  at  Paris  from  1554  to  1566. 
Three  marks(Silvestre,nos.  227, 394,and  759).  They  represent  a  warrior 
bearing  on  his  shoulders  a  woman  plunging  a  sword  in  his  throat.  One 
of  the  marks  has  the  word  '  odiosa '  in  the  border  on  one  side,  and  *  veri" 
tas'  on  the  other.  Another  is  printed  in  an  octavo  volume  of  1539  (Bib" 
liotheque  Nationale),  Ravisius  Textor's  *  Epistol^  a  mendis  repurgata.' 

DupuY  (J.),  printer  at  Paris  in  1549.  See  Fezandat. 

Estienne  (Robert),  printer/'bookseller  at  Paris,  from  i526to  1550. 
Six  marks  at  least,  representing  the  oKve^tree  in  different  forms.  Three 

I.  According  to  Lottin,  it  was  first  used  in  1555.  See  his  Catalogue,  vol.  ii,  p.  30. 


ICONOGRAPHY 


271 


of  them  are  reproduced  in  M.  Silvestre's  work :  nos.  162,318/  and  319*; 
add  to  these  the  large  folio  mark  that  appears  on  the  Bible  of  1 528  ^  and 
that  of  1 540,  previously  described ;  a  small  mark  which  appears  in  the 
i6mo  Virgil  of  1549 ;  and,  lastly,  a  mark  similar  to  Silvestre's  no.  163 


(except  that  the  figure  is  bald),  which  appears  in  '  Caroli  Stephani  de 
Nutrimentis,'  etc.*  Probably  most  of  these  marks  were  engraved  for 
Robert  Estienne  at  the  outset  of  his  typographical  career,  that  is  to  say, 
about  1526 ;  he  carried  them  with  him  to  Geneva  in  1 550 ;  and  his  son, 
the  second  Henri,  used  them  in  his  turn,  after  his  father's  death,  which 
occurred  in  1559.  It  was  undoubtedly  the  widow  of  Tory  who  engraved 

1 .  I  have  reproduced  this  mark  on  the  title-page  of  my  Les  Estienne  et  les  types  grecs  de 
Francois  I ;  octavo,  1856. 

2.  [Silvestre  also  gives  three  other  variants,  nos.  508,  542,  and  958,  signed  with  the  cross. 
No.  508  is  reproduced  above.] 

3 .  [  I  5  3  8  ?  M .  Bernard  mentions  no  Bible  of  1528.] 

4.  Octavo ;  Paris,  Robert  Estienne,  1550.  Bibliotheque  Nationale. 


272  GEOFROY  TORY 

the  mark  (in  different  sizes)  which  appears,  after  1544,  on  the  Greek 
books  printed  with  the  royal  types,  and  which  represents  a  basilisk  en' 
twined  about  a  lance. 


EsTiENNE  (Charles),  printer  and  bookseller  at  Paris  from  155 1  to 
1 56 1.  Three  marks  at  least.  Upon  entering  the  typographical  profession 
Charles  adopted  his  brother's  olive-'tree ;  that  is  to  say,  he  simply  had 
copies  made  of  Robert's  marks,  as  he  succeeded  to  his  business.  I  have 
seen  the  first  of  these  marks,  similar  to  Silvestre's  no.  1 63,  in  an  octavo 
edition  of  P.  Bunel's '  Epitres  familieres,'  printed  by  Charles  in  1 55 1 ;  the 
second  appears  in  a  folio  edition  of  Cicero,  in  four  volumes,  published 
by  the  same  printer  from  155 1  to  1555 ' ;  and  the  third,  like  Silvestre's 
no.  162,  in  the  '  Petit  Dictionnaire  frangais^atin '  (quarto),  published  by 
Charles  in  1559.  It  is  probable  that  the  second  Robert  used  these  same 
marks  after  his  uncle's  retirement  in  1 56 1 . 

FEZANDAT(MiCHEL),printer/booksellerat  Paris  fromi54i  to  1553. 
One  mark  (Silvestre,  no.  423).  This  mark  which,  by  way  of  allusion  to 
the  name  of  its  owner,  represents  a  pheasant  {faisan)  on  a  dolphin,  with 
the  letters  M  and  F  at  the  left  and  right,  respectively,  of  the  pheasant, 
was  used  without  the  initials  in  1549,  as  may  be  seen  on  the  title  of 
'  Le  Temple  du  chastete,'  printed  in  that  year  by  Fezandat,  in  octavo.' 

I .  This  book  is  described  on  p.  244,  supra.  z .  Bibliotheque  Nationale. 


ICONOGRAPHY  273 

In  1 550,  one  Guillaume  Alard  (Fezandat's  son^in^aw,  it  may  be),  who 
lived  'e  regione  collegii  de  la  Mercy/  also  used  the  mark  in  that  form.' 
The  appearance  of  this  mark  on  Alard's  book  may  be  due  solely  to  the 
fact  that  the  book  in  question  was  printed  by  Fezandat.  I  have  been 
unable  to  ascertain  the  facts  because  the  fragment  of  the  title-page  on 
which  I  saw  the  mark  and  Alard's  name  does  not  contain  the  title  of 
the  book.  The  only  possible  clue  is  the  three  Greek  verses  on  the  other 
side  of  the  page,  which  lead  one  to  think  that  it  may  have  been  a  work 
of  Jean  Blaccus  Danois,  of  whom  we  have  a  translation  of  Isocrates  into 
Latin  verses,  printed  by  Regnault  Chaudiere,  also  in  1550  (quarto).^ 


This  G.  Alard  is  not  named  by  Lottin  in  his  *  Catalogue  des  imprimeurs' 
libraires  de  Paris.'  I  find  the  same  mark  in  a  small  volume  entitled 
'Le  Bouquet  des  fleursde  Seneque ' ;  octavo ;  Caen,  *  de  I'imprimerie  de 
Jacques  le  Bas,imprimeurduroy,'  1590.^  I  find  Fezandat's  mark  also  in 
a  book  published  by  the  bookseller  J.  Dupuy  in  1549:  'Novum  Testa' 
mentum,'  in  Greek  and  Latin ;  i6mo.  Why?  I  have  no  idea. 

GiBiER  (Eloi),  printer  at  Orleans.  One  mark,  representing  a  print' 
ing'press.  This  printer,  whose  oldest  known  imprint  is  dated  1559,  had 
evidently  practised  his  trade  several  years  earlier.  This  is  what  we  find 
concerning  him  in  the  '  Bibliotheque  historique  des  auteurs  orleanais/ 
by  Dom  Gerou,  which  is  preserved  in  manuscript  in  the  Public  Library 
of  Orleans :  *  We  may  say  that  Eloy  Gibier  was  in  a  certain  sense  the  first 
printerofOrleans ;  MathieuVivianandPierreAsselinhad  preceded  him, 
but  we  know  of only  a  single  work  printed  by  each  of  them,  whereas  there 

1 .  See  the  collection  of  Tory's  work  in  the  Print  Section  of  the  Bibliotheque  Nationale. 

2.  Sermonum  liber  unus  ex  Isocratis  notione  de  regno,  carmine  heroico.  Bibliotheque 
Mazarine. 

3.  Bibliotheque  Nationale. 


274  GEOFROY  TORY 

are  a  great  number  by  Eloy  Gibier.  We  do  not  know  when  he  began, 
but  the  earliest  book  printed  by  him  of  which  we  have  any  knowledge 
is  of  1559.  At  first  he  put  no  symbol  on  the  title^pagesof  his  works;  the 
place  where  the  symbol  should  be  was  entirely  unoccupied ;  later,  he 
sometimes  inserted  one,  but  not  always.  This  symbol  was  a  printings 
press,  about  which  were  the  words :  "  In  sudore  vultus  tui  vesceris  pane 
tuo." '  I  have  seen  this  mark  on  the  '  Coutumes  generales  d'Orleans,' 
printed  by  Gibier  in  15  70,  octavo.'  But  he  afterward  adopted  the  mark 
of  Conrad  Bade.  See  that  name. 


GouRMONT  (GiLLES  de),  printer-'bookseller  at  Paris,  from  1506  to 
1 530.  —  Three  marks.  The  first,  in  the  form  of  a  border,  is  found  on  the 
title-'page  of  a  volume  containing  nine  comedies  of  Aristophanes,  printed 
by  Pierre  Vidoue,  at  GiUes  de  Gourmont's  expense,  in  1528  (quarto)  \- 
a  description  of  it  will  be  found  above.  ^  The  second  represents  Fame: 
it  is  a  nude  woman,  winged,  all  over  whose  body  are  eyes,  tongues,  and 
ears.  At  the  foot,  in  a  scroll,  are  the  words :  'Ecqvis  incvmbere  famae' 
('  poterit '  understood,  no  doubt).  The  Lorraine  cross  appears  at  the  left 
on  the  lower  edge  of  the  engraving.  I  have  seen  this  mark  on  a  small 
book  entitled : '  Alphabetum  hebraicum,'  consisting  of  8  leaves,  printed 


I .  Bibliotheque  de  I'Institut. 

3.  On  p.  197.  [Reproduced  on  p.  198.] 


2.  Bibliotheque  Nationale. 


ICONOGRAPHY 


275 


by  Pierre  Vidoue  (Silvestre,  no.  98).  Although  the  name  of  Gourmont 
nowhere  appears  in  this  case,  I  have  no  doubt  that  the  mark  belongs  to 
Gilles  de  Gourmont,  for  it  is  accompanied  by  his  initials,  E  and  G  (Egi^ 
dius  Gourmontius),  at  the  left  and  right  respectively;  and  we  shall  see 
that  this  same  mark  was  afterward  used  by  Jerome  de  Gourmont,  Gilles's 
son  ornephew.  It  maybe  that  it  was  because  of  the  loan  of  Gourmont's 
Hebrew  type  that  his  mark  appears  on  this  precious  pamphlet,  a  dc 
scription  of  which  follows.  First  leaf,  beginning  at  the  end  (according 
to  the  Hebrew  and  Arabic  custom),  Gourmont's  mark  in  a  border  of 
detached  compartments.  On  the  verso  Pierre  Vidoue's  epistle  to  the 
reader,  dated  from  his  workshop  August  i,  1531.  Then  comes  the  text, 
followed  by  this  subscript :  '  Petrus  Vidovaeus  Vernoliensis  excudebat 
Lutetis.'  And,  lastly,  Vidoue's  mark — Fortune,  with  the  words: '  Au-" 
dentes  juvo '  (Silvestre,  no.  65).  The  third  of  Gilles  de  Gourmont's  marks 
signed  with  the  Lx)rraine  cross  is  given  by  M.  Silvestre  (no.  826).  [This 
mark  forms  the  lower  part  of  the  border  first  described,  and  has  evi*- 
dently  been  cut  from  the  border  for  use  separately.]  It  represents  the 
Gourmont  arms':  a  shield  coupe,  three  roses  in  chief  and  a  crescent  in 
base ;  for  crest  a  St.  Michael,  holding  a  bare  sword,  supports  two  winged 

I .  The  placing  of  these  arms  on  the  typographical  mark  of  Gilles  de  Gourmont  proves,  in 
contradiction  of  the  common  opinion,  that  the  printer's  trade  was  not  degrading.  (But  see 
what  I  have  said  on  this  subject  in  my  book  on  the  Origin  of  Printing,  vol.  i,  p.  210,  and 
vol.  ii,  p.  89.)  The  Gourmonts  of  Paris  were  in  fact  descended  from  a  noble  family  of  the 
Cotentin,  which  may  still  be  in  existence,  and  which  bore  the  same  arms  in  the  seventeenth 
century.  Gilles  de  Gourmont  had  taken  up  his  abode  in  Paris  in  the  last  years  of  the  fifteenth 
century,  as  had  several  of  his  brothers,  who  practised  the  same  trade.  The  oldest,  Robert,  ap- 
pears in  that  city  as  early  as  1498 ;  Jean,  who  was  younger  than  Gilles,  not  until  i  507.  We 
hear  also  of  a  Jerome  and  a  Benoit  as  booksellers  in  Paris  in  the  middle  of  the  sixteenth  century. 
I  do  not  know  what  their  relationship  to  the  earlier  men  was.  Perhaps  they  were  sons  of  Robert. 
(Benoit,  who  married  Catherine  Goulard,  had  a  son  baptized  by  the  name  of  Gilles  at  the 
church  of  Sainte-Croix-en-la-Cite,  on  October  9,  1 546. )  We  also  find  a  Jean  Theobald  de 
Gourmont  at  Antwerp  in  1527.  As  for  Gilles,  he  was  engaged  in  bookselling  and  printing  from 
I  506  to  about  1533,  and  left  two  sons,  Jean  and  Francois,  who  retained  his  establishment  on 
rue  Saint-Jean-de-Latran,  and  printed  there,  in  i  587,  the  Tableaux  des  Arts  Liber aux deChris- 
tophe  de  Savigny.  This  is  an  in-plano,  at  the  beginning  of  which  is  a  superb  engraving  repre- 
senting the  arms  of  the  family  [as  described  in  the  text]  .  This  remarkable  work,  which  bears 
the  monogram  of  the  two  brothers,  was  probably  executed  by  Jean,  the  elder,  who  was  a 
painter  and  engraver.  The  Musee  du  Louvre  has  a  picture  supposed  to  be  by  him  ( Notice  des 
tableaux  du  Louvre,  part  3,  p.  156);  he  is  the  author  of  a  fine  portrait  of  the  Cardinal  de 
Bourbon,  mentioned  by  Mariette  and  now  in  the  Cabinet  des  Estampes;  he  is  mentioned  also 
by  Abbe  de  Marolles  and  by  Papillon  for  certain  pictures  of  equestrian  groups  and  bits  of  deco- 
ration. His  mark  (formed  of  the  letters  IDG  entwined)  and  the  name  accompanying  it  are 
found  on  several  pieces  cited  by  Brulliot,  on  the  plates  of  a  Bible  of  1 560,  and  on  certain  pieces 
of  Tortorel  and  Perissim  (Renouvier,  Mattres  Graveurs  du  Seizieme  Siecle,  p.  195 ).  It  will 
be  seen  that  Gilles  had  worthy  successors;  unfortunately  the  race  of  the  Gourmonts  of  Paris 
died  out  with  them. 


276  GEOFROY  TORY 

stags  with  ducal  coronets  about  their  necks.  This  subject,  much  more 
fully  developed,  appears  on  the  first  page  of  the  '  Tableaux  des  Arts  Li" 
beraux  de  Savigny,'  in^plano,'  published  in  1 587,  by  Jean  and  Francois, 
sons  of  Gilles  de  Gourmont,  who  succeeded  to  his  establishment  on  rue 
Saint' Jean'de''Latran. 

Gourmont  (Jerome  de),  printer^bookseller  at  Paris  from  1524  to 
1533. — One  mark  representing  Fame,  copied  fromthe  second  markof 
Gilles  de  Gourmont  just  described,  but  reversed.  Beneath  the  inscription 
*  Ecqvis  incvmbere famae,'  inasmall  cartouche,  are  the  initialsH.  D.G. 
(Hierome  de  Gourmont),  with  the  Lorraine  cross  just  above.  I  have  seen 
this  mark  in  an  octavo  volume  published  at  Paris  in  1 534  by  Jerome  de 
Gourmont,  under  this  title : '  Pauli  Paradisi . . .  de  modo  legendi  hebraice 
dialogus,'^  and  in  another  octavo,  also  published  at  Paris  ('  Dionysis')  in 
1535,  under  a  Greek  title  of  which  the  Latin  translation  is :  *  Apollonius 
Alexandrinus,  de  Constructione.'^  Jerome  de  Gourmont  published  at 
least  one  other  book  at '  Dionysiae '  in  1 535 ;  but  I  do  not  know  the  title,  as 
I  have  not  seen  the  title-page.  All  that  I  can  say  is  that  Ausonius  is  quoted 
in  the  Latin  preface  printed  on  the  verso  of  the  first  leaf,  of  which  1  have 
seen  only  a  fi^agment,  belonging  to  M.  Silvestre. 

I  believe  that  Jerome  de  Gourmont  did  some  printing,  although  he 
is  named  only  as  a  bookseller  in  the  bibliographies.  The  books  that  I 
have  mentioned  show  that  he  was  a  scholar  who  followed  in  the  tracks 
of  Gilles  de  Gourmont.  Indeed,  the  one  first  described,  which  is  in  Latin, 
contains  some  Hebrew  words ;  the  second  is  entirely  in  Greek. 

I  have  seen  a  little  book,  printed  at  Paris  in  1 539,  with  Jerome  deGour^ 
mont's  mark:  it  is  'Pugna  porcorum  per  J.  Porcium,'  octavo.  The  sub' 
script  below  the  mark  reads:  'Parisiis,  apud  Anthonium  Bonnemere.' 
Was  Anthoine  Bonnemere  publisher  for  Jerome  de  Gourmont,  at  the 
same  sign  ?  That  is  something  that  I  do  not  know. 

Gourmont  (Benoit  de),  bookseller  at  Paris.  —  One  mark,  reprc 
senting  a  man  standing  above  two  precipices ;  above  him  is  a  scroll  with 
the  words : '  Vndiqve  praecipitivm ' ;  and  at  his  feet  the  initials  B.  D.  G. 
(Silvestre,  no.  838). 

1 .  [That  is,  consisting  of  unfolded  sheets,  so  that  each  sheet  forms  only  one  leaf,  or  two 
pages.] 

2.  Bibliotheque  Nationale. 

3.  Bibliotheque  Mazarine. 


ICONOGRAPHY  277 

Grandin  (Louis),  printer^bookseller  at  Paris,  from  154210  1553. — 
Two  marks  (Silvestre,nos.  277  and 4 16).  They  represent  two  men,  one 
of  whom  is  receiving  a  sphere  from  the  hand  of  God ;  the  other  holds 


one  which  is  crumbling  in  his  fingers.  On  the  second  of  the  two  marks 
are  the  words :  *  Confidere  in  Domino  bonum  esse  quam  confidere  in 
homine.  Ps,  117/ 

GuEULLARD(jEAN),printer/bookseller  at  Paris,  from  155210 1553. 
— Two  marks  representing  the  Phoenix  rising  from  the  flames,'  in  an 
oval  border.  The  smaller  one  has,  within  the  border,  the  words, '  Amor 
vitcB  acer  nimis,'  with  Gueullard's  initials,  I.  G.,  below  (Silvestre,  no. 
790).  This  mark  is  .055  of  a  millimetre  high  by  .044  wide.  I  have  seen 
it  in  a  book  entitled :  '  Petri  Ruffi  Druydas  dialectica,  nuper  ab  eodem 
autore  emendatur,'  quarto,  1553  (3d  edition).^  The  larger  one  has  this 
motto  within  the  border:  'Mori  vivere  mihi  est';  it  is  .087  of  a  milli^ 
metre  high  by  .063  wide  (Silvestre,  no.  882).  I  have  seen  it  in  a  book 
entitled, '  Hexastichorum  moralium  libri  duo,  per  Nic.  Querculum  Tor^ 
tronensem  Rhemum;  quarto, Paris,  1552.' ^  S^e  Harsy  (Olivier  de). 

GuiLLARD  (Charlotte),  printer-'bookseller  from  15 18  to  1556. — 
One  mark  representing  her  sign,  a  golden  sun  in  a  starry  sky.  Below,  two 
lions  erect,  holding  a  shield  on  which  are  the  initials  C.  G.  This  lady 
carried  on  the  printing  trade  for  more  than  fifty  years.  She  married  first, 
in  1 502,  Berthold  Rembold,  a  partner  of  the  first  printer  in  Paris,  Ulric 


1 .  Gueullard  lived  at  the  sign  of  the  Phoenix,  e  regione  collegii  Remensis, 

2.  Bibliotheque  Mazarine.  3.  Bibliotheque  Nationale. 


278  GEOFROY  TORY 

Gering .  Berthold,  who  had  established  his  domicile  on  rue  Saint' Jacques, 
*  au  Soleil  d'Or/  having  left  Charlotte  a  widow  in  1 5 1 8,  she  carried  on 
the  business  alone  until  1520,  when  she  married  Claude  Che  vallon,  who 
took  up  his  abode  on  the  same  premises.  Chevallon  having  departed 


this  life,  in  his  turn,  in  1 542,  Charlotte  continued  in  the  business  until 
1556.  It  was  during  her  second  widowhood  that  the  mark  in  question, 
which  we  reproduce  herewith,  was  engraved.  I  have  seen  it  on  a  quarto 
volume  entitled,  '  Institutionum  civilium  Ubri  quatuor,  1 550.  Parisiis, 
apud  Carolam  Guillard,  viduam  Claudi  Chevallonii,  sub  SoH  aureo,  et 
Guilelmum  Desbois,  sub  Cruce  Alba,  in  via  divi  Jacobi.'  Claude  Cheval^ 
Ion  had  upon  his  mark,  by  way  of  allusion  to  his  name,  two  horses  stand' 
ing  (chevaMong).  But  M.  Silvestre  publishes  as  his  (no.  395)  a  mark 
which  has  the  lions. 

Harsy  (Olivier  de),  bookseller  at  Paris,  from  1556  to  1584,  used 
GueuUard's  mark  on  several  works  written  by  Nicolas  EUain ;  among 
others, '  Elegia  libriduo  ad Joach.  Bellaium,quo  adhuc  vivo  eos  scripsit. 
— Parisiis.e  typogr.  Olivarii  de  Harsy,ad  Cornu  cervi,in  clauso  BruneUo'; 
quarto,  1560.'  1  have  no  idea  why  de  Harsy  adopted  GueuUard's  mark. 

HoTOT  (Fabian),  printer  at  Orleans.  See  Bade  (Conrad). 

Houic  (Antoine),  bookseller  at  Paris.  See  Regnault  (Barbe). 

I.  Bibliotheque  Nationale. 


ICONOGRAPHY  279 

Kerver(ThielmanII),  printer  and  bookseller  at  Paris,  from,  1 530  to 
1550. — One  mark,  representing  the  arms  of  the  Kervers;  a  'gril'  i^cra- 
tis)  held  by  two  unicorns,  with  the  letters  T.  K.  Below  is  the  printer's 
name  in  full : '  Thieman  [sic]  Kerver.'  This  mark  appears  on  a  book  of 
Hours  of  1550. 

Le  Bas.  See  Fezandat. 

Le  Coq  (Jean)  printer  atTroyes,  from  1 506  to  1525.  —  One  mark, 
representing  Le  Coq's  arms  (a  cock),  hanging  from  a  tree ;  below  is  the 
name, 'Jean  LeCoq'(Silvestre,  no.  875).  This  mark  appears  in  a' Grad' 
uel'of  i52i,previouslydescribed.'  WefinditagaininabookofHoursac 
cording  to  the  use  of  Toul,  published  in  1 54 1 ,  which  contains  many  other 
engravings  signed  with  the  double  cross.''  Also  in  a  small  book  published 
in  our  own  day  by  Aubry  the  bookseller  ^ ;  that  is  to  say,  this  particular 
woodcut  is  still  in  existence  and  belongs  to  M.  Aubry. 

LeNoir (Philippe),  printer-'bookseller  at  Paris, from  1520 101539. 
Three  marks,"*  representing  two  negroes  (noirs)  holding  a  shield  with 
Philippe  le  Noir's  initials. 

Mallard  (Olivier), printer^bookseller  at  Paris.from  1536101542. 

Mallard  (Jean),  bookseller  at  Rouen. 

Marn  e  f,  d  e  :  Enguilbert,  Jean  and  Geoffroy,  brothers,  were  printers 
and  booksellers  at  Paris  and  Poitiers,  together  or  separately,  from  15 10 
to  1550.  Their  mark  was  a  pelican,  piercing  his  side  in  order  to  nourish 
his  young.  Tory  engraved  for  them  at  least  two  marks :  one  which  ap-- 
pears  on  a  book  printed  by  Enguilbert  and  Jean,  in  Poitiers,  in  1 536,' en' 
titled '  Les  angoisses  et  remedes  d'amour  duTraverseur  en  son  adoles^ 
cence'  (by  Jean  Bouchet),  wixh  this  device:  'Eximii  amoris  typus' ;  it 
is  reproduced  byDibdin,^and  by  Silvestre  (no.  152).^  The  other  maybe 

I.  [See  p.  177,  supra.]  2.  [See  p.  221,  supra.] 

3.  Bibliotheque  de  r  Amateur  champenois,  2d  part:  *  Construction  d'uneNotre-Dame.' 

4.  See  Dibdin,  The  Bibliographical  Decameron,  vol.  ii,  p.  43  ;  Silvestre,  no.  61.  The  one 
in  Silvestre  is  a  reduced  copy  of  that  at  the  end  of  Des  Coustumes  et  statuz  particulters  de  la  plus- 
part  des  baillages,  etc.  ( 4to,  1527),  which  is  of  much  larger  format,  and  is  also  signed  with  the 
Lorraine  cross.  [This  magnificent  mark  is  reproduced  in  its  full  size  on  p.  264,  supra.] 

5.  Quarto  ;  finished  Jan.  8,  I  536  (  i  537  n.  s.  ). 

6.  Bibliographical  Decameron,  vol.  ii,  p.  32. 

7.  Nos.  1 5  3  and  1 74  seem  to  be  by  the  same  artist,  but  they  are  not  signed. 


28o 


GEOFROY  TORY 


seen  in  the  Print  Section  of  the  Bibliotheque  Nationale,  among  Tory's 
work ;  the  pelican  and  its  young  are  in  an  oval  border,  around  which  is 
this  device :  *  Principium  ex  fide,  finis  in  charitate '  (Silvestre,  no.  1 044) . 
[See  also  the  reproduction  at  the  beginning  of  this  section,  page  265.] 

MENiER(MAURiCE),printerat  Paris,fi-omi545  to  1 566.— One  mark 
(Silvestre,  no.  789),  representing  a  man  closing  a  woman's  mouth,  with 
this  device,  *  Coercenda  volvptas.' 

Merlin  (Guillaume),  bookseller  at  Paris,  from  1538  to  1570. — 
One  mark,  representing  a  swan  whose  neck  is  twined  about  a  cross,  sur^ 
rounded  by  the  device,  *  In  hoc  signo  vinces.'  The  Lorraine  cross  is  barely 
visible  in  the  lowest  ornament  of  the  engraving.  I  have  seen  this  mark 
on  the  first  page  of  a  '  Missale  ecclesie  Parisiensis,'  in  folio,  without  date, 
printed  by  lolande  Bonhomme,  widow  of  the  first  Thielman  Kerver, 
as  is  shown  by  the  presence  of  that  printer's  mark  on  the  first  page  of 
the  text ;  it  may  be  that  there  are  copies  in  her  name.  This  book  is  with' 
out  date, but  should  be  placed  between  the  years  1532  and  1552,  which 
embracetheincumbencyof  Jean  duBellay  as  Archbishop  of  Paris.  Mer^ 
lin's  mark  is  .095  of  a  millimetre  high  by  .067  wide.' 

MoREL(GuiLLAUME),printer'bookselleratParis,from  154810 1564. 
— One  mark,  reproduced  by  M.  Silvestre  (no.  164),  who  informs  me 
that  his  engraver  accidentally  omitted  the  Lorraine  cross.  'This  mark,' 
he  adds,  *  was  used  later  by  Estienne  Pre  vosteau.  Morel's  son'in4aw,who 
subsequently  reengraved  it,  or  had  it  reengraved,  with  his  initials,  E.  P. 
in  place  of  Tory's  mark.'^  It  represents  a  capital  theta  (©),  about  which 
are  twined  two  winged  serpents,  and  in  the  centre  an  angel,  seated  on 
the  cross'-piece  of  the  0,  with  a  lighted  torch  in  her  hand. 

Nivelle(Sebastien),  printer  and  bookseller,  at  Paris,  from  1550  to 
1601 .  One  mark,  representing  two  storks  in  the  air,  one  being  carried 
and  fed  by  the  other ;  with  this  verse  from  Exodus  (xx,  1 2),  to  explain 
the  drawing : '  Honora  patrem  tuum  et  matrem  tuam,  et  sis  longasvus 
super  terram.'  I  have  seen  this  mark  on  an  octavo  edition  of  St.  John 

1 .  Silvestre,  no.  801 .  See  a  further  description  of  this  book,  supra,  p.  215,  note. 

2.  Indeed  I  have  seen  this  marlc,  with  the  Lorraine  cross,  on  a  Greek  alphabet  of  1560, 
printed  by  G.  Morel  (Bibl.  Nat. ),  and  on  several  other  works  printed  by  Prevosteau,  his  son- 
in-law  ;  I  will  mention  particularly  Adriani  Behotii  diluvium,  octavo,  1591  (Bibl.  Nat.), 
where  the  mark  is  cracked,  which  explains  why  it  was  reengraved  with  the  letters  E.  P. 


ICONOGRAPHY 


281 


Chrysostom  ('Homeliae  duas'),  printed  by  Sebastien  Nivelle  in  1554.  It 
is  reproduced  by  M.  Silvestre  (no.  20 1 ),  but  the  Lorraine  cross  is  barely 
visible  on  this  impression.  I  have  seen  also  another  mark  of  Nivelle's 


representing  the  same  subject,  with  analogous  designs  suggesting  filial 
love  in  the  four  corners ;  but  it  is  not  signed  with  the  cross  although  it 
is  absolutely  in  Tory's  manner. 

Nyverd  (GuiLLAUME),printer  and  bookseller  at  Paris,fromi5 16. — 
One  mark,  or,  to  speak  more  precisely,  a  small  border  in  the  style  of 
one  of  the  marks  of  Simon  de  CoHnes.  At  the  foot,  in  a  scroll,  are  the 
words, '  Nasci,  laborare,  mori.'  This  border  appears  in  a  small  pamphlet, 
undated,  in  pure  gothic  type,  entitled, '  La  Reformation  des  tavernes  et 
destruction  de  gourmandise,  en  forme  de  dialogue a  small  octavo  of  4 
leaves,  ofwhich  M.  Cigogne  possesses  the  only  known  copy  ( 1856).  At 
the  end  are  the  words,  'Paris,  by  Guillaume  Nyverd,  printer.'  So  that 
Lottinis  mistaken  in  saying  that  he  was  a  bookseller  only.  He  gives  only 
one  date  for  his  career  in  the  trade  —151 6 — but  our  engraving  is  cer/ 
tainly  later  than  1520.  M.  Silvestre  extends  Nyverd's  business  career  to 
1 559,  on  what  grounds  I  do  not  know ;  but  he  also  calls  him  a  bookseller 
only.  The  text  of  the '  Reformation  des  tavernes,'  etc. ,  was  reprinted  on 
page  223  of  the  second  volume  of  the  '  Recueil  des  poesies  fran^oises 
des  XV  et  XVI  siecles,'  collected  and  annotated  by  M.  Anatole  de  Monf 
aiglon.' 

I .  Sixteenmo ;  Paris,  Janet,  1855. 


282 


GEOFROY  TORY 


Nyverd  (Guillaume  de),  probably  the  son  of  the  preceding,  print' 
er^bookseller  at  Paris,  from  1 550  to  1580. — One  mark,  representing  the 
arms  of  France  borne  by  two  winged  genii.  Above  them  a  head  with 
wings ;  from  its  mouth  come  two  garlands  in  the  style  of  those  on  the 
last  plate  of 'Champ  fleury.'  At  the  lefr,at  the  foot  ofthe  cut,  the  letters 
G.  N.,  and  at  the  right  the  Lorraine  cross.  This  engraving,  which  is  8 
centimetres  wide  by  1 1  high,  was  undoubtedly  executed  when  Guil-' 
laume  de  Nyverd  was  appointed  king's  printer,  which  title  he  held  in 
1 56 1 ,  according  to  Lottin.  In  all  probability  he  held  it  earlier  than  that. 
However  that  may  be,  I  have  seen  this  mark,  already  much  worn,  in  an 
impression  of  1572 :  *  Prognostication  touchant  le  mariage  du  tres  hon' 
ore  et  tres  aime  Henry,  par  la  grace  de  Dieu  roy  de  Navarre,  et  de  tres 
illustre  princesse  Marguerite  de  France,  calculee  par  maistre  Bernard 
Abbatia,  docteur  medecin  et  astrologue  du  tres  chresden  roy  de  France  * 
[Charles  IX].  There  are  in  the  Bibliotheque  Nationale  at  least  three  ed-* 
itions  of  the  little  pamphlet,  made  by  the  same  printer  at  about  the  same 
time,  that  is  to  say  immediately  after  the  marriage  of  the  King  of  Na-* 
varre  with  Marguerite  de  Valois.  All  three  have  this  engraving  on  the 
last  page,  but  in  every  case  it  is  accompanied  by  an  addition  of  much 
later  date,  namely,  the  device  of  Charles  IX  (two  pillars  joined  by  a  scroU 
containing  the  words,  *  Pietate  et  Jvsticia '),  above  the  arms  of  France. 
The  volume  contains  also  numerous  other  engravings  and  letters  bear' 
ing  Guillaume  de  Nyverd's  initials.  It  is  worth  while  to  caU  attention  to 
the  fact  thatde  Nyverd  does  not  assume  the  title  of  king's  printer  in  this 
book,  although,  as  we  have  seen  above,  his  appointment  was  of  much 
earlier  date. 

Pallier  (Jean),  called '  Marchand,'  printer  and  bookseller  at  Metz, 
from  1 539  to  1 548. — One  mark  (Silvestre,  no.  1 56),  representing  a fleur^ 
de'Hs  held  in  the  air  by  two  naked  children,  with  the  letters  I.  P.  in 
the  field.'  Jean  Pallier,  or,  better,  Palyer  (in  Latin,  Palierus),  did  busi' 
ness  also  in  Paris,  for  I  have  seen  several  books  of  his  dated  from  that 
city  in  1541  or  1542,  with  the  mark  described  above.  I  will  mention, 
among  others :  ( i )  *  Epitomae  singularum  distinctionum  Ubri  primi  sen' 
tentiarum,  cum  versibus  memorialibus  Arnoldi  Vesaliensis,'  etc.,  1 6mo, 
Paris,  1 541 ;  and  (2)  'Topica  Marci  Tullii  Ciceronis,'  etc.,  *ex  officina 
Joannis  Palierii,  e  regione  Navarrae,  sub  signo  Leonis  Coronati,'  4to, 
1542- 

I.  See  Le  Second  Enfer    Estienne  Dolet ;  quarto,  i  544  ;  Bibliotheque  Nationale. 


ICONOGRAPHY  283 

Paris  (Nicole),  printer  at  Troyes,  from  1542  to  1547. — One  mark 
(Silvestre,  no.  175),  representing  a  child  clinging  to  the  branches  of  a 
palm-tree  (?),  beneath  the  device,  'Et  CoUigam.' 


Perier  (Charles),  bookseller  at  Paris,  from  1550  to  1557. — One 
mark,  found  on  the  title  of  the  folio  entitled,  *  Les  quatre  livres  d' Albert 
Durer  . . .  dela  proportion  des  parties  etpourtraicts  des  corps  humains, 
traduits  par  Louys  Meigret,'etc.,  'chez  Charles  Perier  ...  a  I'enseigne 
du  Bellerophon,  1557.' '  This  bookseller  issued  two  editions  of  Diirer's 
book  in  the  same  year,  one  in  Latin  and  the  other  in  French,  both  lIIus-' 
trated  with  the  same  cuts.  I  am  unable  to  say  which  appeared  first.  He 
had  already  published,  in  1 5 55,  for  Louis  Meigret,  a  translation  of  *  Les 
XJI  livres  de  Robert  Valturin,  touchans  la  discipline  militaire,'  in  folio, 
with  engravings,  in  which  his  mark  appears,  signed  with  the  double 
cross.  The  sign  of  Bellerophon  was  retained  by  Charles  Perier's  son 
Thomas. 

Petit  (Oudin),  bookseller  at  Paris  from  1541. — One  mark  (Silves-* 
tre,  no.  1 03),  representing  a  shield  bearing  a  fleur^de-'lis,  and  held  by  two 
lions ;  in  the  field  the  letters  O.  P. 

Porte  (Maurice  de  la), bookseller  at  Paris  from  1 524  to  1548. — 
One  mark  used  by  his  widow  in  the  volume  entitled,  'M.  A.  Mureti 
Juvenilia' ;  octavo,  1553.^  Maurice  de  la  Porte's  widow  sold  his  plant 

I.  Bibliotheque  du  Jardin  des  Plantes  et  Sainte-Genevieve.       2.  Bibliotheque  Mazarine. 


284  GEOFROY  TORY 

to  Gabriel  Buon,  who  used  the  marks  of  the  deceased  from  1 558  to  1 587 . 
They  represent  a  man  carrying  a  valise  at  the  door  {a  la  parte)  of  a  house ; 
one  of  them  has  thedevice, '  Omniamea  mecum  porto'T\\t  man  is  Bias,' 
according  to  La  Caille.  About  the  same  time  there  was  a  printer  at  Lyon 
named  Hugues  de  la  Porte,  whose  mark  represented  Samson  carrying 
away  the  gates  {partes)  of  Gaza  in  his  arms,  with  the  device, '  Liberta^ 
tem meam  mecum^or/(?.'  (He also  publishedafolio  Latin  Bible  in  1 542.)' 

Prevosteau  (Estienne).  See  Morel  (Guillaume). 

Regnault  (Barb  e),  bookseller  at  Paris  from  1556  to  about  1560. — 
One  mark,  representing  an  elephant  carrying  a  tower  on  his  back,  with 
the  device,  'Sicut  elephas  sto';  height  73^  centimetres,  width  51^  cen^' 
timetres.  Barbe  was  undoubtedly  the  daughter  of  Francois  Regnault, 
who  died  in  1552,  and  who  had  a  similar  mark.^  Francois  Regnault's 
mark  was  retained  by  his  widow,  Madeleine  Boursette,  who  added  to  it 
her  initials,  M.  B.,  and  did  business  in  her  own  name  until  1555.  Barbe 
Regnault's  mark  first  appears,  so  far  as  my  knowledge  goes,  in  a  small 
octavo,  printed  about  1556,  entitled, '  Description  de  la  prinse  de  Calais 
et  de  Guynes,  composee  par  forme  de  style  de  proces  par  M.  G.  de  M,' 
(Here  the  mark.)  'A  Paris,  chez  Barbe  Regnault,  rue  Sainct' Jacques, 
a  I'enseigne  de  I'Elephant.''*  La  Caille  informs  us  of  other  works  pub-' 
lished  about  the  same  time  by  Barbe  Regnault :  *  Monstre  d'  abus  con^ 
tre  Michel  Nostradamus,'  1558 ;  J.  Seve, '  Supplication  aux  rois,'  .  .  . 
*de  faire  la  paix  entre  eux,'  1559.  In  1560  she  published  a  book  by  Es^ 
tienne  Brulefer,  in  octavo,  entitled, '  Identitatum  et  distinctionum  . . . 
traditarum  compendiosacontractio' ;  then  comes  the  mark,  and  below 
it  an  imprint  in  which  Barbe  styles  herself  the  widow  of  Andre  Bar^ 
thelin .  5 1  am  unable  to  say  whether  this  is  the  same  man  whom  La  Caille 
and  Lottin  call  Andre  Berthelin,  and  who  published  in  1544  a  work 
entitled,  'Francisci  Georgii  Venali . . .  de  Harmonia  mundi  totius  cantica 
tria ';  folio,  Paris, '  apud  Andream  Berthelin,  via  ad  divum  Jacobum,  in 
domo  Guilelmi  Rolandi,  sub  insigne  Aureae  Coronas,  et  in  vico  Longo' 
bardorum  in  domo  ejusdem  Rolandi.'^  If  he  is  the  same  man,  we  must 
assume  that  he  was  not  yet  married  to  Barbe  Regnault,  for  we  see  that, 
while  he  lived,  as  she  did,  on  rue  Saint  ■'Jacques,  he  had  a  different  sign. 
Indeed,  I  am  inclined  to  think  that  Barbe  did  not  adopt  the  'Elephant' 

1 .  One  of  the  'Seven  Sages'  of  Greece.  4.  Bibliotheque  Nationale. 

2.  Bibliotheque  Nationale.  5.  Bibliotheque  Nationale. 

3.  See  Silvestre,  nos.  42  and  43.  6.  Bibliotheque  Nationale. 


ICONOGRAPHY  285 

until  after  the  deathof  Madeleine  Boursette,  Francois  Regnault's  widow, 
about  1556.  However  that  maybe,  LaCaille  says  that  Barbe  Regnault's 
mark  passed  into  the  hands  of  Thibault  Bessault,  then  to  his  son  Jean, 
and  finally  to  Antoine  Houic.  I  have  seen  a  book  published  by  the  last' 
named  in  1582,  embellished  with  Barbe  Regnault's  'Elephant,' 

RoBiNOT  (GiLLES  I),  bookseller  at  Paris,  from  1554  to  1575.  — 
One  mark  (Silvestre,  no.  686),  representing  Icarus  hurled  into  the  sea 
for  not  following  the  advice  of  Dasdalus,  his  father,  not  to  approach  too 
near  the  sun  lest  that  luminary  should  melt  the  wax  with  which  the 
wings  of  our  presumptuous  youth  were  fastened  to  his  body.  In  a  scroll 


are  these  words,  *  Ne  quid  nimis.'  This  mark  was  used  as  late  as  1 6 1 9  by 
GiUes  Robinot  the  second,  son  of  the  first  GiUes ' ;  it  is  .05  of  a  miUi^ 
metre  high  by  .047  wide.  See  Sertenas, 

RoFFET  (Pierre),  called  'Le  Faulchoir,'  bookseller  at  Paris,  from 
1525  to  1 537,  — One  mark  (Silvestre,  no.  150)  representing  a  mower 
{faucheur)  appears  in  a  book  printed  in  1536.^ 

RoiGNY  (Jean  de),  bookseller  at  Paris,  from  1529  to  1562.  —  I 
know  two  marks  of  de  Roigny,  signed  with  the  Lorraine  cross.  The 
older  is  the  one  that  appears  in  a  superb  edition  of  Pliny's  *  Letters,' 
printed  by  Josse  Bade  in  1533,  in  folio  (Silvestre,  no.  674). ^  It  represents 
a  man  and  a  woman,  each  holding  a  scroll  containing  a  Latin  motto ; 
the  man's  reads  thus:  'Nec  me  labor  iste  gravabit' ;  and  the  woman's, 

I.  See  Epistres  morales     Hon  ore     Urf'e  ;  8vo,  1619. 
2.  [Reproduced  on  p.  1 37.]  3.  [Reproduced  on  p.  286.] 


286 


GEOFROY  TORY 


'Spes  premii  solatium  est  laboris.'  In  the  sky  is  Fortune  with  her  wheel 
and  the  horn  of  plenty,  and  this  device  in  a  scroU  beneath :  'Quod  dif* 
ferturnon  aufertur/  The  second  mark,  which  was  adopted  by  Jean  de 
Roigny  after  the  death  of  his  father^in^aw,  Josse  Bade,  in  1535,  is  the 
'Prelum  ascensianum,'  but  reengraved  (Silvestre,  no.  787) ;  for  Bade's 


typographical  plant  passed  into  the  hands  of  another  son-'in^Iaw  of  his, 
Michel  de  Vascosan,  who  continued  to  use  his  father-in-law's  old  wood' 
cuts,  especially  his  mark,  badly  worn  as  it  was.  As  for  Robert  Estienne, 
Bade's  third  son^'in^law,  his  father^-in^aw's  death  caused  no  change  in 
his  typographical  arrangements ;  he  still  retained  the '  Olive-tree '  which 
he  has  made  so  celebrated. 

Sertenas  (Vincent),  bookseller  at  Paris,  from  1534  to  1561. — 
One  mark,  which  was  used  on  two  opuscula,  in  octavo,  of  1561 ;  they 
are  usually  bound  in  the  same  volume,  and  are  entitled:  (i)  'Regime 


ICONOGRAPHY  287 

de  vivre  et  conservation  des  corps  humains,'  etc. ;  (2)  'Recueil  de  plu' 
sieurs  secrets  tres^utiles  pour  la  sante,'  etc.  This  mark  represents  the 
initials  V.  S.  interlaced,  in  a  medallion  above  which  is  the  sun,  w^ith  a 
genie  on  each  side;  and  below,  the  device,  'Vincenti  non  victo.'  We 
also  find  Robinot's  mark,  described  above,  in  certain  books  published 
by  Sertenas,  I  wiU  mention  among  others  the  *  Recueil  des  rimes  et 
proses,  by  E.  P. ;  octavo,  1555.'  Presumably,  it  was  because  Robinot 
was  the  printer  that  he  placed  his  mark  on  the  books. 

Vivian  (Thielman),  bookseller  at  Paris  in  1 539.  — One  mark(Sil'' 
vestre,no.  725),  which  appears  in  the  second  part  of  the  •  Grand  Marial 
de  la  mere  de  vie,'  ^  translated  by  Adam  de  Saints  Victor.  This  second  part 
is  entitled,  *  A  la  tres^pure  et  immaculee  Conception  de  la  Vierge  * ; 
quarto,  1539.  Vivian  Hved  in  Clos  Bruneau ;  his  mark  bore  this  device, 
*  Post  tenebras  spero  lucem '  in  a  scroll,  above  a  fountain  guarded  by  two 
unicorns ;  below  are  the  letters  T.  V.,  and  still  lower,  *  Thielman  Vivian.' 

1 .  Copies  of  both  books  are  in  the  Bibliotheque  Nationale. 

2.  This  book  is  in  the  Bibliotheque  del' Arsenal.  The  first  part  is  in  gothic  type,  without 
typographical  signs ;  the  second,  in  roman. 


APPENDICES. 


I 

NOTE  CONCERNING  GEOFROY  TORY'S  FAMILY. 

I.  Of  his  Forbears  and  Collateral  delations. 

ENEALOGICAL  investigation,  sup" 
plemented  with  information  furnished 
by  two  learned  Berrichons,  enabled  me 
to  enumerate,  in  my  first  work  on  Tory, 
a  considerable  number  of  members  of 
his  family,  all,  or  almost  aU,  of  whom 
lived  in  Faubourg  Saint^Pri  ve  [Bourges]. 
The  recent  researches  of  my  friend  M. 
Hippolyte  Boyer,  Deputy  Archivist  of 
the  Department  of  the  Cher ,  make  it  pos" 
sible  for  me  to  make  known  his  grand" 
father,  his  father,  and  aU  his  brothers  and  sisters. 

*  By  deed  of  December  29,  i486,  Robert  Thory,  husbandman,  living 
in  the  parish  of  Saint^Germain-'du'Ruy,  conveys  to  Jean  Thory,  his  bro" 
ther,for  20  livres  tournois,  his  share  in  the  heritage  of  the  late  Jean  and 
Jeanne,  their  father  and  mother.* 

*  By  contracts  of  September  5  and  8, 1 507,  Jean  Thory,  of  Saint"  Prive/ 
and  Philippe  Thoreye,  his  wife,  give  their  two  daughters,  Jehanne 
Thorye  and  Perron  Thorye,  in  marriage  to  Thevenin  and  Francois  Le" 
conte,  sons  of  Jean  Leconte.'  Among  the  provisions  of  Perron's  contract 
is  one  to  the  effect  that  Jean  Thory  and  his  wife  settle  a  dowry  of  40  livres 
tournois  on  their  daughter :  '  and.  this  in  satisfaction  of  all  claim  upon 
father  and  mother,  be  it  in  respect  of  furniture  or  of  inheritance,  which 
said  claim  the  said  future  bride,  with,  the  authority  of  her  said  future  hus" 

I.  Another  document  which  M.  Boyer  has  kindly  made  known  to  me,  dated  in  1489,  in- 
forms us  that  this  Jean  Thory  lived  on  rue  aux  Vaches,  in  Faubourg  Saint-Prive;  so  that  it  was 
on  that  street  that  Geofroy  was  born.  *  Now, '  M.  Boyer  writes  me,  *  as  that  street  contains  only 
two  houses,  I  am  inclined  to  select  as  the  house  in  question  the  one  designated  by  the  name 
of  maison  du  perron,  because  of  a  stoop  err  on')  with  a  wooden  roof  which  is  still  preserved, 
and  which  is  accounted  for  by  the  proximity  of  the  river.'  I  saw  the  house  in  1 856  ;  it  still  be- 
longs to  the  Toubeau  family,  which  tends  to  confirm  M.  Boyer's  opinion. 


290  GEOFROY  TORY 

band,  hath  renounced  and  doth  by  these  presents  renounce,  in  favour  of 
her  father  and  mother,  of  maistre  Geoffroye,  Andre,  Antoine  and  Michell 
Thoris,  children  of  said  Jean  and  Philippe,  save  for  the  power  to,'  etc' 

Thus  it  appears  that  Geofroy  was  the  oldest  of  the  brothers  and  sis' 
ters,  as  he  is  named  first  in  the  document.  Now,  as  two  of  his  sisters  were 
of  marriageable  age  in  1 507,  and  as  he  is  called  maistre^  it  is  probable 
that  he  himself  was  more  than  twenty-'five.  That  is  why  I  have  placed 
his  birth  about  1480. 

2.  Of  his  Descendants. 

Jean  Toubeau,  printer  and  bookseller  at  Bourges,  who  died  at  Paris  in 
1685,  while  on  a  mission  for  his  native  place,^  wrote  the  following  in  the 
preface  to  his  'Institutes  consulaires,' printed  by  himself  in  1682,  three 
years  before  his  death : '  I  have  not  been  impelled  to  undertake  and  write 
this  work  by  the  examples  of  the  illustrious  members  of  my  profession. 
Nor  is  it  the  example  of  those  of  my  own  family  who  have  given  their 
works  to  the  public :  Geofroy  Tory,  professor  in  the  University  of  Paris, 
and  a  printer  and  bookseller  in  the  same  city,  who  was  so  prolific  that, 
proposing  to  put  forth  a  book  which  should  teach  the  scope  and  propor^ 
tions  of  those  beautiful  roman  letters  which  we  use  to-day  in  printing,  he 
could  not  forbear  to  produce  a  book  overflowing  with  learning,  which 
was  followed  by  numerous  others  of  instruction,  which  are  so  well 
known  that  it  is  needless  to  give  a  list  of  them  here,  especially  as  M.  de  la 
Thaumassiere  gives  them  a  whole  chapter  in  our  history.' 

It  is  evident  from  this  passage  that  Toubeau  was  related  to  Tory,  but  it 
is  not  clear  how  the  relationship  came  about ;  and  La  Thaumassiere  does 
not  mention  Tory  in  his  '  Histoire  du  Berry,'  printed  a  few  years  later  by 
Francois  Toubeau,  Jean's  son,  despite  the  promises  which  he  seems  to 
have  made  to  Jean,  who  had  transferred  to  him  thedutyofmaking  known 
to  posterity  that  illustrious  son  of  his  province. 

The  only  author  able  to  assist  us  at  all  in  our  investigations  is  Moreri, 
who,  in  the  article  on  Jean  Toubeau  in  his  great  historical  dictionary,  says 
that  he  was  the  great^great^grandson  of  Tory,  on  his  mother's  side.  This 
statement  should  be  exact,  and  the  article  appears  to  be  written  from 
information  furnished  by  the  Toubeau  family ;  but  all  that  we  can  dc 
ter  mine  from  it  is  that  Toubeau  was  a  descendant  of  Tory  in  the  fourth 
degree.  Whether  he  descended  from  a  son  or  daughter  of  Geofroy,  I 


I .  Archives  of  the  Department  of  the  Cher,  Series  C,  Notarial  Recorfls ;  minutes  of  Jean 
Dujat,  notary,  i  507.  2.  [See  supra,  p.  44.] 


APPENDICES  291 

have  been unableto discover.  Toelucidatethisfact,IwrotetoM.Auguste 
Toubeau,  judge  of  the  civil  court  at  Bourges,  and  this  was  his  reply,  dated 
March  5,1856:'!  should  have  been  glad  to  give  you  the  information  you 
desire  about  Tory.  But  I  have  no  documents  or  family  papers  w^hich  es' 
tablish  his  relationship  to  Jean  and  Hilaire  Toubeau .  I  do  not  know  what 
connection  there  was  between  them  and  Tory,  and  I  learned  that  there 
was  such  a  connection  only  from  what  Moreri  says  of  it.' 

Failing  family  papers,  I  made  fruitless  efforts  to  fix  the  relationship 
between  the  Toubeaus  and  Tory.  Finding  it  impossible  to  reach  any  cer^ 
tain  result,  I  have  abandoned  this  search,  which  has  no  bearing  upon  the 
history  of  our  illustrious  typographer.  The  Toubeaus  alone  are  inter-' 
ested  in  the  solution  of  the  question ;  I  leave  to  them  the  task  of  proving 
their  kinship. 

Postscript. — It  may  be  surmised  that  Bona  venture  T(?r/««j-,  book^ 
seller  of  Bourges,  who  caused  to  be  printed  at  that  city,  in  1595,  by  the 
widow  of  Nicolas  Levez,  the '  Epitome  juris  civilis,'  by  an  unknown  au-* 
thor,  and '  Julii  Pauli  receptarum  sententiarum  Hbri  V,' '  was  Tory's  son, 
for  he  wrote  his  name  in  Latin  in  the  same  way  that  Tory  wrote  it ;  but 
was  it  from  a  daughter  of  Tory  or  from  a  daughter  of  this  Bona  venture 
that  Toubeau  descended  ?  It  is  impossible  for  me  to  say.  The  lateness  of 
the  period  at  which  Bona  venture  makes  his  appearance  leads  me  to  be-* 
Heve  that  he  did  not  see  the  light  until  Tory  had  reached  an  advanced  age. 
Indeed,  if  we  compare  the  dates,  we  shall  find  that  this  son  of  Tory  cannot 
have  come  into  the  world  before  1 530,  for,  starting  from  that  year,  he 
would  have  been  sixty-'five  years  old  in  1595,  when  his  'Epitome  juris' 
was  printed,  and  there  is  no  reason  to  believe  that  he  died  very  soon  there' 
after.  For  my  own  part,  I  beHeve  that  he  was  not  born  until  after  the  pub' 
lication  of'  Champ  fleury,'and  that  his  Christian  name  was  an  allusion  to 
his  late  birth.^  In  that  case,  we  can  understand  why  he  did  not  succeed  to 

1 .  On  the  first  page  of  both  books  are  the  words :  '  Biturigis,  apud  Bonaventuram  Thorinum, 
sub  signo  Anchorae,  vico  Maiore,  1595';  and  at  the  end:  'Excusus  fuit  hie  hber  typis  viduae 
Nicolai  Levez,  Avarici  Biturigum,  juxta  scholas  utriusque  juris.'  (Bibliotheque  Nationale.) 
The  first  alone  contains  a  hcense  to  print  (dated  August  29,  1595).  Therein  the  publisher  is 
called,  in  French,  'Thorin,'  the  natural  rendering  of  the  Latin  name  that  we  find  in  the  'note 
to  the  reader,'  where  the  form  'Torinus'  occurs  four  times,  and  'Thorinus'  once  only  ;  which 
confirms  my  hypothesis  relative  to  the  descent  of  this  bookseller  of  Bourges.  For  we  have  seen 
that  Tory  wrote  his  name  Torinus  in  Latin.  I  must  not  omit  to  mention  one  objection  sug- 
gested by  a  friend  of  mine  at  Bourges,  —  that  our  man  is  called  Bonaventure  Thorin,  in  a  book 
of  imposts  for  the  year  1588.  But  every  one  knows  how  irregular  the  spelling  of  names  was  in 
the  old  days. 

2.  May  not  Tory's  son  have  had  for  his  godfather  Bonaventure  des  Periers,  who  committed 
suicide  in  1 544,  in  order  to  avoid  a  prosecution  on  account  of  his  religion  ? 


292  GEOFROY  TORY 

the  paternal  establishment :  he  was  only  two  or  three  years  old  at  Geo' 
froy's  death — too  young  to  think  of  taking  his  place ;  so  that  that  duty  fell 
toGeofroy's  pupils,  whoever  they  may  have  been.  As  for  Bona  venture, 
the  family  traditions  naturally  led  him  back  to  Bourges,  and  the  trade 
that  he  adopted  brought  him  still  nearer  to  his  father. 


II 

Verses  in  honour  of  GeofroyTory,  printed  at  the  head 
OF  Palsgrave's  Grammar.' 

'Ejusdem  [Leonardi]  Coxi  ad  eruditum  virum  Gefridum  Troy^  de 
Burges^  Galium,  Campi  floridi  authorem,  quem  ille  sua  lingua  Champ 
fleury  vocat,  nomine  omnium  Anglorum,  phaleutium. 

*  Campo  quod  toties,  Gefride  docte, 
'In  florente  tuo  cupisti  habemus. 

'  Nam  sub  legibus  hie  bene  approbatis 

'Sermo  gallicus  ecce  perdocetur, 

'  Non  rem  grammaticam  Palasmon  ante 

*  Tractarat  melius  suis  latinis, 

'  Quotquot  floruerant  ve  posterorum, 

*  Nec  Grascis  melius  putato  Gazam 
'  Instruxisse  suos  Hbris  politis, 

'  Seu  quotquot  pratio  prius  fliere, 

*  Quam  nunc  gallica  iste  noster  tradit. 

*  Est  doctus,  facilis,  brevisque  quantum 
'  Res  permittit,  et  inde  nos  ovamus, 

'  Campo  quod  toties,  Gefride  docte, 
'  In  florente  tuo  cupisti,  habentes.' 

Remarks  on  the  foregoing  lines. 

The  numerous  errors  of  all  sorts  which  disfigure  Palsgrave's  book  (a 
very  interesting  book,  none  the  less) — errors  of  which  the  foregoing 

1 .  This  book,  which  bears  a  French  title,  Lesclaircissement  de  la  langue  francoise,  although 
written  in  English  and  for  the  English,  was  printed  at  London  shortly  after  the  publication  of 
Tory's  Champ  Jieury.  M.  Genin  issued  a  second  edition  in  1852,  quarto,  Paris,  Imprimerie 
Nationale. 

2.  Read  'Tory';  letters  transposed. 

3.  Read  '  Bourges.'  The  error  is  due  to  the  fact  that  the  London  printers  were  much  more 
familiar  with  Bruges,  where  Caxton,  their  first  master,  lived  a  long  while  before  he  introduced 
printing  in  England,  than  with  Bourges  in  Berry.  (See  my  book  on  the  Origin  of  Printing,  vol. 
ii,  pp.  347  fF.) 


APPENDICES  293 

lines  afford  several  specimens — should  have  humbled  to  some  extent 
the  national  vanity  of  the  author,  w^ho  cries  out  incessantly,  throughout 
his  bulky  volume,  against  the  ignorance  of  French  printers.  He  should, 
in  any  event,  have  remembered  that  English  typography  was  the  very 
humble  daughter  of  French  typography,  which  latter  not  only  trained 
the  first  English  artist  (Caxton),  but  also  gave  him  his  two  most  illustri^ 
ous  successors, — Wynkyn  de  Worde  and  Pinson, — the  last  named  of 
whom  did  in  fact  print  a  part  of  Palsgrave's  book. 

A  modern  Englishman,  David  Baker,  has  gone  even  farther  than  Pals' 
grave;  he  says,  speaking  of  Palsgrave's  work:  'the  French  nation,  so  proud 
to-'day  of  the  universality  of  its  language,  seems  to  owe  it  to  England.' 
To  which  M.  Genin  retorts : '  Baker  reasons  backward.  The  French  lan^ 
guage  did  not  come  into  universal  use  because  it  pleased  Palsgrave  to 
write  a  grammar ;  on  the  contrary,  Palsgrave  composed  his  grammar  be 
cause  the  French  language  was  already  universal.  This  universality  was 
a  fact,  admitted  before  Palsgrave's  birth,'  and  others  before  him  had  tried 
to  draw  up  rules  to  facilitate  the  study  of  French  by  foreigners.  Palsgrave 
names  three  to  whom  he  acknowledges  that  his  work  is  greatly  indebted . 

'Leonard  Coxe  exults  more  modestly  and  with  more  propriety  than 
David  Baker,  for  he  seems  to  attribute  to  Geofroy  Tory  the  honour  of 
having  called  forth  Palsgrave's  grammar.  To  be  sure,  a  comparison  of 
dates  seems  to  leave  little  likelihood  to  that  conjecture,  for  the  French' 
man's  work  and  the  Englishman's  are  only  about  a  year  apart ;  but  I 
must  notice  here  one  curious  fact  which  has  not  been  noticed  by  the 
bibliographers.  On  the  title-page  of  the  English  book  we  find  the  date 
1 530, and  on  the  last  leaf,  "Printing  completed  July  18, 1530."  But  the 
king's  licence  to  print,  at  the  beginning  of  the  volume,  is  dated, "  At  our 
Castle  of  Ampthill,  the  second  of  September,  in  the  year  of  our  reign  the 
XXII."  Now, as  Henry  VIII  succeeded  to  the  throne  in  1 509,  afi:er  Easter, 
the  twentysecond  year  of  his  reign  was  the  year  1531,^  and  "Champ 
fleury"  appeared  early  in  1529.  So  that  this  gives  us  an  interval  of  three 
years.2  In  this  view  Leonard  Coxe's  words  have  genuine  force,  and  the 

1 .  See  what  I  have  myself  said  on  this  subject,  supra,  p.  1 7. 

2.  In  order  to  be  fair  to  everybody  I  am  bound  to  say  that  M.  Genin' s  reckoning  is  at  fault. 
Henry  VIII  having  succeeded  to  the  throne  on  April  22, 1 509,  the  twenty-second  year  of  his 
reign  extends  from  April  22,  1 5  3  o,  to  April  21,  1 5  3 1 ,  and  consequently  the  license  cited  here 
must  have  been  dated  September  2,1530,  that  is  to  say,  a  month  and  a  half  after  the  printing  of 
Palsgrave's  book  was  finished. 

3.  Say  a  year  and  a  half,  in  consequence  of  the  correction  suggested  in  the  preceding  note. 
However,  Tory  had  announced  a  year  earlier  th&Reigles  de  lorthographe  du  langaige  francois. 
See  supra,  p.  100. 


294  GEOFROY  TORY 

point  of  concurrence  which  Palsgrave  congratulates  himself  upon  find' 
ing  in  "  Champ  fleury  "  and  "  Lesclaircissement"  may  not  be  so  fortui' 
tous  as  he  chooses  to  state.' 

However,  as  M.  Genin  goes  on  to  say,  'this  honour,  claimed  by  the 
English,  of  having  been  the  first  to  write  upon  the  French  language,  is, 
all  things  considered,  simply  an  act  of  homage  to  France ;  for  if  our 
neighbours  had  awaited  from  a  foreign  nation  the  first  book  on  the 
English  language,  perhaps  they  would  be  awaiting  it  still.' 

Ill 

Tory  admitted  as  the  twenty-fifth  Bookseller  to  the 
University. 

In  the '  Acta  Facultatis  medicinas  Parisiensis,' '  at  the  end,  we  read  as 
follows :  — 

'Die  Martis  i8  febr.  1532  [1533,  n.  s.]  .  .  . 

'  Die  sabbati  sequenti,  vocata  est  Universitas  in  ecclesia  Mathurino^ 
rum,  super  tribus  articulis :  clausione  rotuli,  resignatione  cure  Sane 
torum  Cosme  et  Damiani,  et  receptione  vigesimi  quinti  librarii  Uni-' 
versitatis.  Clausus  est  rotulus  solito  more ;  admissa  est  resignatio  per^ 
mutationis  causa  et  sine  prejudicio  turni,  et  admissus  est  vigesimus 
quintus  librarius  GaufFridus  Torier  [sic],  dono  regio.  Ubi  supplicavit 
magister  Jacobus  Japhet  pro  pastillaria.' 

(Translation.) 

'On  the  following  Saturday  [February  22,  1533],  the  University 
was  called  together  at  the  Church  of  the  Mathurins.  There  were  three 
articles  in  the  order  of  the  day:  Closing  of  the  register  [of  benefices]; 
resignation  of  the  cure  of  Saint^Come  and  Saint^'Damien ;  reception  of 
a  twentyfifth  bookseller  to  the  University.  The  register  was  closed  ac 
cording  to  the  usual  form.  The  resignation  was  accepted,  by  way  of 
exchange,  without  prejudice  to  the  next  in  turn.  Geofroy  Tory  was 
admitted  as  twentyfifth  bookseller,  by  presentation  of  the  king.  At 
this  same  session  Maitre  Jacques  Japhet  prayed  for  leave  to  present  his 
"pastillary"  thesis.' 

The  only  item  that  interests  us  in  this  extract  fi"om  the  proceedings 
of  the  Faculty  of  Medicine  is  the  passage  relating  to  Tory.  We  see  that 

I.  Vol.  iv,  fol.  320  recto.  MSS.  folio  preserved  at  the  Library  of  the  fecole  de  Medecine 
in  Paris. 

4- 


APPENDICES  295 

in  1 533  he  was  made  the  twenty^fifth  bookseller  to  the  University,  by 
command  of  King  Frangois  I.  Up  to  that  time  there  had  been  only 
twentyfour  (see  M.  Didot's  'Essai,'  col.  744),  and  they  undoubtedly 
went  back  to  that  consecrated  number  after  the  death  of  Tory,  in  whose 
behalf  an  exception  had  been  made. 

IV 

Note  concerning  Tory's  various  Domiciles  in  Paris. 

The  dedicatory  epistle  of  Tory's  edition  of  Pomponius  Mela  is  dated 
Paris,  December,  1507 ;  but  it  mentions  no  place  of  abode. 

The  edition  of  the  'Cosmography'  of  Pope  Pius  II  is  dated  at  the 
College  du  Plessis,  October  2,  1509,  Tory  was  at  the  CoUege  du  Plessis 
as  late  as  May  10, 15 10.' 

On  August  1 8, 1 5 1 2,  we  find  him  installed  at  the  College  Coqueret ; 
and  a  little  later  at  the  CoUege  de  Bourgogne.^ 

About  15 18,  having  joined  the  fi-aternity  of  booksellers,  he  went  to 
live  on  rue  Saints  Jacques,  opposite  the  Ecu  de  Bale,  which  was  then  used 
as  a  sign  by  the  famous  printer  Chretien  Wechel.  The  latter's  establish/ 
ment  was  on  the  right  going  up  rue  Saint-- Jacques,  near  the  church  of 
Saint^Benoit. 

About  1526  Tory  established  himself  on  the  Petit^Pont,  near  Hotels 
Dieu,  but  did  not  give  up  his  shop  on  rue  Saint  ■'Jacques,  at  the  sign  of 
the  Pot  Casse. 

Early  in  153 1,  he  changed  his  abode  to  rue  de  la  Juiverie,  the  Halle 
aux  Bles  de  Beauce,  where  he  set  up  his  printing-press  and  his  book** 
stall.  He  retained  his  shop  on  rue  Saints  Jacques  for  some  time,^  It  was 
in  his  house  on  rue  de  la  Juiverie  that  he  died,  in  1 533. 

V 

Of  the  first  use  by  printers,  and  in  the  French  lan" 
guage,  of  the  apostrophe,  the  accent,  and  the  cedilla. 

M.  Francis  Wey,  in  a  report  made  by  him  to  the  Philological  section 
of  the  Committee  on  the  Language,  History,  and  Arts  of  France,  on 
June  9,  1856,  and  published  in  the  9th  fascicle  of  volume  three  of  that 

I.  [See  supra,  pp.  55  and 65.]  2.  [See  supra,  pp.  69  and 44.] 

3.  [See  supra,  p.  96.] 


296  GEOFROY  TORY 

Committee's '  Bulletin '  (page  43  7 ),  seems  to  attribute  to  Jean  Salomon, 
otherwise  called  Montflory,  or  Florimond,  the  first  philological  dissert' 
ation  in  which  there  is  any  mention  of  the  accent,  the  apostrophe  and 
the  cediUa,  —  signs  peculiar  to  the  French  language,  which,  as  every 
one  knows,  was  for  many  years  content  with  the  alphabet  of  the  Latin 
tongue,  from  which  it  descended ;  more  than  that,  he  attributes  to  that 
author  the  first  use  of  these  signs  in  a  printed  book.  In  both  respects 
the  honour  is  due  to  Geofi"oy  Tory.  In  truth,  in  his '  Champ  fleury,'  — 
which  was  not  published  until  15  29,  it  is  true,  although  begun  in  1523, 
the  license  to  print  being  dated  September  5, 1526, — Tory  proposed  to 
introduce  the  accent,  the  apostrophe,  and  the  cedilla  into  the  French 
language ;  he  did  more  than  that ;  for,  having  become  a  printer,  he  was 
the  first  to  introduce  those  signs  into  typography.  They  appeared  for 
the  first  time  in  the  last  of  the  four  editions  of  the '  Adolescence  Clem' 
entine '  (by  Clement  Marot),  aU  four  of  which  he  published.  This  fourth 
edition  appeared  June  7 , 1 5  3  3 ,  accompanied  by  an '  avis '  in  these  words : 
*  With  certain  accents  noted,  to  wit,  on  the  e  masculine,  different  from 
the  feminine,'  on  letters  joined  by  synalephe,  and  under  the  c  when  it  is 
pronounced  like  s,  the  which  for  lack  of  counsel  has  nev  er  been  done  in 
the  French  language,  albeit  it  was  and  is  most  essential.'  This  was  the 
first  work  in  which  Tory  applied  his  orthographic  system,  as  may  be 
seen  by  the  inexperience  of  the  compositors  in  his  employ,  who  made 
several  errors  of  omission  and  transposition  in  this  very  notice. 

This  so  necessary  reform  spread  very  rapidly,  thanks  to  the  fact  that 
the  necessity  had  already  made  itselffelt,  as  is  proved  by  the  work  of  Jean 
Salomon,publishedinthatsame  year  1533.  But  it  is  Tory's  especial  glory 
that  only  those  changes  which  were  proposed  by  him  were  retained,  save 
a  few  orthographic  signs  which  have  no  other  purpose  than  to  distin/ 
guish  words  spelled  alike  but  of  different  meanings — and  these  signs 
were  introduced  later :  a,  a  ;  ou,  oii ;  du,  du,  etc. 

With  however  good  a  will  one  might  seek  to  deny  Tory's  precedence 
in  the  use  of  orthographic  signs  in  the  French  tongue,  and  to  award  it  to 
Jean  Salomon,  who  used  them  in  the  same  year,  there  are  two  facts  that 
decide  the  question  in  favour  of  the  former :  these  are,  the  publication 
in  April,  1529,  of  his '  Champ  fleury '  (the  first  book  of  which  is  entitled, 
'An  exhortation  to  fix  and  ordain  the  French  language  by  certain  rules 

I .  The  necessity  of  distinguishing  between  the  final  e  which  requires  the  acute  accent  (^aveu- 
gle")  and  that  which  does  not  take  it  {aveugk)  led  to  calling  the  former  masculine  and  the  other 
feminine.  Hence  the  term  'feminine'  still  given  in  French  poetry  to  mute  rhymes. 


APPENDICES  297 

for  speaking  with  elegance  in  good  sound  French  words'),  and  the  for'' 
mulation  of  the '  General  rules  of  orthography  of  the  French  language,' 
no  copy  of  which  is  known  to  exist,  it  is  true,  but  for  whichTory  obtained 
a  license  to  print  on  September  28, 1529,  four  years  before  Salomon's 
work  appeared. 

Nor  must  we  lose  sight  of  the  fact  that  Tory  was  from  Bourges,  that  is 
to  say,  from  the  same  province  as  Jacques  Thiboust,  Seigneur  de  Quan-' 
tilly,  'friend  of  books,  and  distinguished  penman,'  who  was  Jean  Salo-' 
mon's  Maecenas.  There  is  nothing  improbable  in  the  supposition  that 
Thiboust  had  had  his  interest  aroused  by  Tory,  who  is  likely  to  have  been 
a  crony  of  Thiboust  inParisbyatwo^fold  claim, — asaBerrichon  and  as 
a  *  friend  of  books.'  It  seems  to  me  that  the  alias '  Montflory '  assumed  by 
Salomon  is  an  allusion  to '  Champ  fleury . '  That,  in  my  opinion,  is  why  he 
wrote  it '  Montflory'  or  '  Florimond,'  indifferently,  the  word  being  an 
anagram  rather  than  a  real  surname. 

As  the  opportunity  offers  itself,  I  will  add  to  M .  Francis  Wey 's  notes  a 
few  remarks  which  may  some  day  assist  in  writing  the  biography  of  Jean 
Salomon,  of  whom  nothing  is  known  except  the  fact,  told  us  by  himself, 
that  he  was  an  Angevin. 

We  know  now  of  three  different  editions  of  his  work.  The  first,  dated 
1 533,  with  no  indication  of  the  month,  was  printed  in  that  year  in  three 
pages  and  a  half,octavo,under  this  title :  *  Briefve  doctrine  pour  deuement 
escripre  selon  la  propriete  du  langaige  francoys.'  We  do  not  know  where 
or  by  whom  it  was  published,  but  it  certainly  was  printed  at  Paris,  where 
Salomon  undoubtedly  lived,  and  probably  by  Antoine  Augereau,  as  was 
the  one  next  described,  which  seems  to  have  been  modelled  upon  it.  In-' 
deed,  like  it,  it  is  generally  found  between  the  same  covers  with  an  edition 
of  the  'Miroir  de  I'ame  pecheresse '  (of  Marguerite  of  Navarre), — an  edi-* 
tion  without  date,  name  of  place  or  of  printer,  which,  therefore,  should 
also  be  attributed  to  Antoine  Augereau  and  to  the  year  1533.  This  edi' 
tion,  which  M.  Brunet  does  not  mention,'  has  on  the  first  page:  'Le 
Miroir  de  lame  pecheresse,  auquel  elle  recongnoit  ses  fautes  et  pechez, 
aussi  les  graces  et  benefices  a  elle  faictz  par  Jesuchrist  son  espoux.'  It  con-* 
sists  of  nine  half  sheets  in  octavo,  printed  as  four  (signatures  a  to  /).  On 
the  last  leaf  is  a  note  to  the  reader  wherein  forgiveness  is  asked  for  the 

I .  In  the  fourth  edition  of  the  Manuel  de  Lihraire;  he  does  mention  it  in  the  fifth  edition, 
however,  citing  me.  It  is  not  mentioned  either  in  the  Essai  sur  la  Vie  et  les  Ouvrages  de  Mar- 
guerite d"  Angouleme,  by  M.  de  Lincy,  prefixed  to  his  edition  of  the  Heptameron,  which  was 
published  by  the  Societe  des  Bibliophiles  Franjaisin  1853-54.  I  describe  it  from  a  copy  owned 
by  M.  Ferdinand  Denis. 


298  GEOFROY  TORY 

first  corrector  ( he  who  is  called  to-day '  the  corrector  of  first  proofs' ) ,  who 
has  inadvertently  omitted  three  verses.  '  Divers  other  trivial  errors  may 
peradventure  be  found  before  or  after,  but  they  must  needs  be  charged 
rather  to  the  variety  of  the  copies  than  to  the  negligence  of  the  correctors 
or  to  the  haste  of  the  printers.'  —  As  I  have  said,  it  is  at  the  end  of  this 
pamphlet  that  we  find  printed,  with  separate  signatures  of  its  own,  from 
a  to  the  little  book  described  by  M.  Wey  after  the  copy  in  the  Biblio'' 
theque  Nationale  which  contains  the '  Briefve  doctrine.'  But  one  essen^ 
tial  point,  which  M.  Wey  has  forgotton  to  mention,  is  that  in  the  first 
edition  not  a  word  is  said  of  the  accent  or  the  cedilla ;  there  is  no  mention 
of  anything  except  the  apostrophe. 

The  second  edition,  printed  at  Paris  by  Antoine  Augereau,  in  Decem^ 
ber,  1 533,  at  the  back  of  another  edition  of  the  '  Miroir  de  Tame  peche-' 
resse  (called  'Miroir  de  tres  chrestienne  princesse  Marguerite,  reine  de 
Navare'),  is  two-'thirds  larger.  It  was  probably  published  (Hke  the  pre' 
ceding  one)  by  the  Queen  of  Navarre's  secretary,  Jean  Thiboust,  after  a 
manuscript  which  the  author  had  dedicated  to  him  as  his  Maecenas.  In^ 
deed,  we  find  at  the  head  of  this  reprint  the  words '  ex  manuscriptis  au^' 
thoris,'  which  seems  to  indicate  further  that  the  author  was  dead.  A  point 
worth  noting  is  that  the '  Briefve  doctrine '  again  forms  a  part  of  an  appen^ 
dix  distinguished  by  separate  signature  letters  (and  folios)  fi^om  Margue^ 
rite's  poem,  and  bearing  the  same  title  as  in  the  earlier  print,  despite  the 
additions  that  had  been  made  to  it  (presumably  based  upon  Tory's  public 
cations),  especially  with  respect  to  the  cedilla  and  the  accent,  which, 
moreover,  are  used  throughout  the  volume. 

The  third  is  the  one  which  is  still  in  manuscript  at  Bourges.  It  con-* 
tains  several  passages  more  than  the  preceding;  but  these  passages, 
which  are  of  very  debateable  merit  (as  M.  Wey,  who  reproduces  them  in 
his  report,  declares),  were  probably  added  by  one  Jean  Milon,  of  Arlenc 
in  Auvergne,  calling  himself  a  retainer  ('  ser  viteur ')  of  Thiboust,  who  re^ 
vised  the  *  Briefve  doctrine'  about  1542 ;  so  much  at  least  we  may  infer 
fi-om  the  date  of  some  other  pieces  in  the  collection  containing  it,  which 
was  presented,  in  1 555,  by  Jacques  Thiboust  to  the  College  de  Bourges, 
whence  it  found  its  way  to  the  public  library  of  the  same  city.  It  is  exceed^ 
ingly  interesting  to  find  this  document  in  Geofroy  Tory's  native  place. 
It  is  as  if  chance  had  chosen  thereby  to  remind  us  of  the  source  of  the 
orthographic  reform  proposed  by  Jean  Salomon. 

To  be  entirely  fair,  we  ought  to  say  that  certain  other  writers  had  even 
anticipated  Salomon.  Thus  Jacobus  Silvius,  otherwise  called  Jacques 


APPENDICES  299 

Dubois,  had  published  through  Robert  Estienne,  on  the  7th  of  the  Jdes 
of  January,  153 1  (January  7,  1532,  n.  s.),  a  French  grammar  in  Latin, 
wherein  he  suggested  a  complete  system  of  orthographic  reform,  in" 
eluding  the  acute  accent,  the  apostrophe,  the  cedilla,  etc. ;  but  his  plan 
was  so  complicated  that  it  could  not  be  followed  in  its  entirety .  Moreover, 
the  signs  proposed  by  him  were,  for  the  most  part,  impossible  of  adoption 
throughout  a  book.  For  instance,  the  cedilla  consisted  of  an  j-  placed  about 
the  c.  The  merit  of  Tory's  system,  over  and  above  its  priority,  was  its 
simplicity.  So  we  may  say  that  it  was  generally  adopted  after  1533. 


VI 

Translation  of  the  Letters  Patent  of  Francois  I,  appoint^ 
ING  Conrad  Neobar  King's  Printer  for  Greek.' 

January  17,  1539  [new  style]. 
Francois,  by  the  grace  of  God  King  of  the  French,  to  the  French  na^ 
tion,  greeting.^ 

We  desire  that  it  be  known  to  one  and  aU  that  our  dearest  wish  is, 
and  has  ever  been,  to  accord  to  letters  our  support  and  especial  favour, 
and  to  do  our  utmost  endeavours  to  supply  the  young  with  useful  stud^ 
ies.  We  are  persuaded  that  such  useful  studies  will  produce  in  our  realm 
theologians  who  will  teach  the  blessed  doctrines  of  religion ;  magistrates 
who  will  execute  the  laws,  not  with  passion,  but  in  a  spirit  of  public 
equity ;  and  skilful  administrators,  the  glory  of  the  State,  who  will  not 
hesitate  to  sacrifice  their  private  interests  to  love  of  the  public  weal. 

Such  are  in  effect  the  advantages  which  we  are  justified  in  anticipate 
ing  fi-om  worthy  studies  almost  alone.  And  that  is  why  we  did,  not 
long  since,  make  liberal  allotments  of  stipends  to  distinguished  scholars 
that  they  might  teach  the  young  the  languages  and  sciences,  and  train 
them  in  the  no  less  valuable  practice  of  good  morals.  But  we  have  con*' 
sidered  that  there  was  still  lacking,  in  order  to  hasten  the  onward  march 
of  literature,  something  no  less  essential  than  public  instruction,  namely, 
that  a  capable  person  should  be  specially  entrusted  with  the  matter  of 
printing  in  Greek,  under  our  auspices  and  with  due  encouragement 

1 .  The  original  text  of  these  letters  may  be  found  in  my  book,  Les  Estienne  et  les  types  grecs  de 
Francois  I";  I  give  here  only  a  translation  borrowed  from  M.Crapelet,  Etudes  pratiques, -p.  89. 

2.  By  an  inexplicable  blunder  M.  Crapelet  has  thought  fit  to  render  the  two  words  '  Gal- 
licje  reipublicae,'  republic  (^of  letters^ ,  failing  to  understand  that  the  word  'respublica  '  stands 
for  the  State.  It  is  needless  to  say  that  he  has  been  followed  by  many  others,  particularly  M. 
Duprat  in  his  *  Histoire  de  I'lmprimerie  imperiale,'  1 861 . 


300  GEOFROY  TORY 

from  us,  in  order  to  the  correct  printing  of  Greek  authors  for  the  use  of 
the  young  people  of  our  realm. 

In  truth  men  distinguished  in  letters  have  represented  to  us  that  the 
arts,  history,  morality,  philosophy,  and  almost  all  other  branches  of 
knowledge,  flow  from  the  Greek  authors  as  streams  flow  from  their 
sources.  We  know  likewise  that,  Greek  being  more  difficult  to  print 
than  French  and  Latin,  it  is  indispensable  for  the  successful  adminis^ 
tration  of  a  printing  establishment  of  this  sort,  that  the  director  thereof 
should  be  well  versed  in  the  Greek  tongue,  extremely  painstaking,  and 
blessed  with  abundant  means ;  that  it  may  be  that  there  is  not  a  single 
person  among  the  printers  of  our  realm  who  combines  all  these  quali' 
fications  (that  is  to  say,  knowledge  of  the  Greek  language,  painstaking 
energy  and  large  wealth),  but  that  in  one  the  fortune  is  lacking,  in  an^ 
other  the  necessary  knowledge,  and  in  others  still  different  conditions. 
For  those  men  who  possess  at  once  wealth  and  learning  prefer  to  pursue 
any  other  occupation  rather  than  turn  their  hands  to  typography,  which 
demands  a  most  toilsome  life. 

Accordingly  we  instructed  several  scholars  whom  we  admit  to  our 
table  or  to  our  intimacy,  to  point  out  to  us  a  man  overflowing  with  zeal 
for  the  art  of  typography,  and  of  proved  learning  and  diligence,  who, 
supported  by  our  generosity,  should  be  employed  to  print  Greek  books. 

And  we  have  a  two^fold  motive  in  thus  serving  the  cause  of  study. 
Firstly,  as  we  hold  this  realm  from  the  All-powerful  God,  which  realm 
is  abundantly  supplied  with  wealth  and  with  all  the  conveniences  of  life, 
we  choose  that  it  shall  yield  to  no  other  in  respect  to  the  profundity  of 
its  studies,  the  favour  accorded  to  men  of  letters,  and  the  variety  and 
extent  of  the  instruction  provided ;  secondly,  in  order  that  the  studious 
youth,  knowing  our  good-'will  toward  them,  and  the  honour  which  it 
is  our  delight  to  bestow  upon  learning,  may  give  themselves  with  the 
greater  ardour  to  the  study  of  letters  and  of  the  sciences,  and  that  men  of 
worth,  incited  by  our  example,  may  redouble  their  zeal  and  efforts  to 
train  our  youth  to  goodly  and  useful  studies. 

And  even  as  we  sought  the  person  to  whom  we  could  with  all  con'' 
fidence  entrust  this  function,  Conrad  Neobar  presented  himself  most 
opportunely,  being  most  desirous  to  obtain  some  public  employment 
which  should  place  him  under  our  protection,  and  confer  upon  him  per' 
sonal  benefits  proportioned  to  the  importance  of  his  service ;  and,  acting 
upon  the  testimony  that  has  been  laid  before  us  of  his  learning  and  his 
skill,  by  men  of  letters  well  known  to  us,  it  has  pleased  us  to  entrust  to  him 


APPENDICES  301 

the  matter  of  Greek  typography,  to  the  end  that  he  may  print  correctly 
in  our  kingdom,  supported  by  our  munificence,  those  Greek  manuscripts 
which  are  the  source  of  all  learning. 

But,  desiring  to  provide  at  the  same  time  for  the  public  service,  and 
in  order  to  forestall  any  possible  fraud  to  the  prejudice  of  Neobar  our 
printer,  we  establish  him  in  his  said  office  upon  the  following  rules  and 
conditions :  — 

Firstly,  we  understand  that  all  works  not  yet  printed  shall  not  be  put 
to  press,  still  less  published,  before  they  have  been  submitted  to  the  judges 
ment  of  our  professors  of  the  Academic  of  Paris  who  are  charged  with 
the  instruction  of  the  young ;  so  that  the  examination  of  works  in  profane 
literature  shall  be  entrusted  to  the  professors  of  belles-lettres,  and  of  those 
on  religious  subjects  to  the  professors  of  theology.  By  this  means  the 
purity  of  our  most  sacred  religion  will  be  preserved  fi"om  superstition 
and  heresy,  and  integrity  of  morals  be  removed  beyond  the  reach  of  the 
debasement  and  contagion  of  vice. 

Secondly,  Conrad  Neobar  will  deposit  in  our  library  a  copy  of  all  edi^ 
tions  of  Greek  texts  which  he  shall  first  put  forth,  to  the  end  that,  in  the 
event  of  some  occurrence  calamitous  to  letters,  posterity  will  have  this 
source  to  draw  upon  to  repair  the  loss  of  books. 

Thirdly,  all  such  books  as  Neobar  may  print  shall  contain  an  express 
statement  that  he  is  om printer  for  the  Greek,  and  that  he  is  specially  en^ 
trusted  with  Greek  printingunder  our  auspices ;  to  the  end  that  not  the 
present  age  alone,  but  all  posterity,  may  learn  of  the  zeal  and  good^will 
for  letters  whereby  we  are  moved,  and  that,  inspired  by  our  example,  it 
may,  like  ourselves,  prove  itself  disposed  to  strengthen  the  cause  of  study 
and  contribute  to  its  progress. 

Furthermore,  inasmuch  as  this  office  is  of  more  benefit  to  the  State 
than  any  other,  and  as  it  demands  fi"om  the  man  who  desires  to  perform 
its  duties  zealously  such  assiduous  care  and  attention  that  he  can  not  have 
a  single  moment  to  devote  to  labours  which  might  lead  him  to  honours 
or  to  wealth,  we  have  chosen  to  provide  in  three  ways  for  the  interest 
and  support  of  our  printer  Neobar, 

Firstly,  we  award  him  an  annual  stipend  of  one  hundred  gold  crowns, 
called '  ecus  au  soleil,'  by  way  of  encouragement  and  to  indemnify  him 
in  part  for  his  expenses.  It  is  our  will,  further,  that  he  be  exempt  from  all 
imposts  and  that  he  enjoy  the  other  privileges  which  we  and  our  prede^ 
cessors  have  accorded  the  clergy  and  the  Academie  of  Paris,  so  that  he 
may  enjoy  the  greater  advantage  fi^om  the  disposal  of  his  books  and  that 


302  GEOFROY  TORY 

he  may  the  more  easily  acquire  all  that  is  essential  for  a  printing  estab' 
lishment.  Finally,  we  forbid  everybody,  printers  and  booksellers  alike,  to 
print  or  to  sell,  in  our  realm,  for  the  term  of  five  years,  such  books  in  for/ 
eign  tongues,  whether  Latin  or  Greek,  as  Conrad  Neobar  shall  have  pub/ 
lished  first,  and  for  the  term  of  two  years  such  books  as  he  shall  have  re/ 
printed  more  correctly,  fi-om  ancient  manuscripts,  whether  by  his  own 
labours  or  by  availing  himself  of  the  work  of  other  scholars. 

Whoever  violates  the  terms  hereof  shall  be  punishable  with  a  fine  for 
the  use  of  the  treasury,  and  shall  reimburse  our  printer  all  the  cost  of  his 
editions.  Furthermore,  we  command  the  provost  of  our  city  of  Paris,  or 
his  lieutenant,  as  well  as  all  other  magistrates  now  in  oflBce,  or  who  hold 
public  employments  from  us,  to  see  to  it  that  Conrad  Neobar,  our  printer, 
enjoys  to  the  fiill  all  the  privileges  and  immunities  hereby  conferred 
upon  him,  and  to  inflict  severe  punishment  upon  whoever  shall  cause 
him  annoyance  or  hindrance  in  the  performance  of  his  duties:  foritisour 
will  that  he  be  protected  fi"om  the  evil/disposed  and  from  the  malice  of 
the  envious,to  the  end  that  the  tranquillity  and  security  of  an  unharrassed 
life  may  enable  him  to  devote  himself  with  the  greater  zeal  to  his  impor/ 
tant  duties. 

And  that  full  and  entire  credence  may  be  forever  given  to  what  is 
hereinbefore  commanded,  we  have  confirmed  it  with  our  signature  and 
have  caused  our  seal  to  be  affixed.  Adieu. 

Given  at  Paris,  the  seventeenth  day  of  January,  in  the  year  of  grace 
1538,  and  of  our  reign  the  twenty/fifth. 

VII 

Extract  from  the  Letters  Patent  of  Francois  I,  appoint/ 
ING  Denis  Janot  King's  Printer.' 

Frangois,  by  the  grace  of  God  King  of  France,  to  all  those  who  shall 
see  these  letters,  greeting.  Beit  knownthat  we,  having  been  well  and  duly 
advised  of  the  great  skill  and  experience  which  our  dear  and  well/beloved 
Denis  Janot  has  acquired  in  the  art  of  printing  and  in  the  matters  which 
depend  thereon,  whereof  he  has  ordinarily  made  great  profession,  and 
even  in  the  French  language ;  and  considering  that  we  have  already  en/ 
gaged  and  constituted  two  printers  of  our  own,  one  for  the  Latin,  the 

1 .  I  borrow  this  fragment  from  M.  Crapelct  (  Etudes  pratiques,  p.  1 1 6) ,  for  I  have  been  un- 
able to  inspect  the  volume  from  which  he  took  it,  although  he  gives  an  interesting  description 
of  it. 


APPENDICES 


303 


other  for  the  Greek  language ;  desiring  to  do  no  less  honour  to  our  own 
than  to  the  said  two  other  languages,  and  to  commit  the  printing  thereof 
to  some  person  who  is  able  to  acquit  himself  thereof,  as  we  hope  that  the 
said  Janot  will  prove  himself  well  able  to  do,  for  these  causes  and  others 
movingus  thereto,  we  haveengaged  and  do  by  these  presents  engage  him 
to  be  our  printer  in  the  said  French  language,  henceforward  to  print  well 
and  duly,  in  good  type  and  as  correctly  as  may  be,  such  books  as  are  and 
shall  be  written  in  said  language,  and  such  as  he  may  be  able  to  recover ; 
and  to  enjoy  in  that  office  the  honours,  authority,  privileges,  precedent 
cies,  powers,  liberties,  and  rights  which  may  appertain  thereto,  so  long  as 
it  shall  be  our  good  pleasure.  And  in  order  to  arouse  in  him  the  greater 
ardour  and  to  afford  him  better  means  and  opportunity  to  maintain  and 
support  the  cost  and  outlays,  the  toil  and  labour  which  it  wiW  be  incum^ 
bent  on  him  to  make  and  undergo,  as  well  in  the  printing  and  correcting 
as  in  other  matters  depending  thereon,  we  have  decreed  and  ordered,  do 
decree  and  order,  and  it  is  our  pleasure  that  the  said  Janot  be  given  per^' 
mission,  by  these  presents,  to  print  all  books  composed  in  the  said  French 
language  which  he  may  be  able  to  recover,  but  only  after  they  shall  have 
been  well,  duly,  and  sufficiently  inspected  and  examined,  and  found  to 
be  excellent  and  not  scandalous.  .  , .  Given  at  Paris  the  twelfth  day  of 
April  in  the  year  of  grace  one  thousand  five  hundred  forty^three.and  of 
our  reign  the  twentyninth. 

On  the  outside  are  the  words : '  By  the  King — Present,  the  Bishop  of 
Thulles.  Signed  Bayard  ;  and  sealed  sur  double  cueue''  with  that  lord's 
great  seal. ' 

VIII 

List  of  King's  Printers  who  performed  their  functions 
AT  Paris,  from  the  original  institution  of  that  office. 

Geofroy  Tory,  1530-1533.^ 
Olivier  Mallard,  1536-1542. 
Denis  Janot,  1543-1 550.^ 
Charles  Estienne,  1551-1561. 

Robert  Estienne  II  (nephew  of  Charles),  1561-1 570. 

1 .  \Lettre  a  or  sur  double  queue,  letters  on  which  the  seal  is  suspended  from  a  strip  of  parch- 
ment passed  through  the  document.] 

2.  See  what  I  have  to  say  in  the  Preface  on  the  subject  of  Pierre  le  Rouge,  who  is  given  the 
title  of  king's  printer  once,  in  1488. 

3 .  The  dates  that  I  give  are  those  of  the  holding  of  the  office  of  king^  s  printer,  and  not  of  the 
carrying  on  the  trade  of  printer,  which,  as  a  general  rule,  do  not  coincide,  at  least  so  far  as  the 
earlier  dates  are  concerned. 


304  GEOFROY  TORY 

Jean  Mettayer,  i  575-1586. 

Jamet  Mettayer  (brother  of  Jean),  1586-1602. 

Pierre  Mettayer  (brother  of  Jean  and  Jamet),  1602-1639. 

Mamert  Patisson,  1578-1601.  His  widow  succeeded  him  and  held 

the  office  from  1602  to  1606. 
Michel  de  Vascosan,  1560-1571. 
Pierre  le  Voirrier,  1583.' 

Federic  Morel  (Vascosan's  son^in^law),  1560-1581. 

Federic  Morel  II  (son  of  Federic),  1582-1630.^ 

Claude  Morel,  1617  ( ?). 

Charles  Morel  (son  of  Claude),  1635-1639. 

GiLLES  Morel  (son  of  Charles),  1639-1647. 

Pierre  le  Petit.  Succeeded  Morel,  June,  1647  'with  the  privileges 

and  salary  of  225  livres  charged  upon  the  State.' ^  He  died  in  1686. 
Guillaume  Nyverd  II,  1 56 1. 
Nicolas  Nivelle,  ] 

Guillaume  Chaudiere,  V  Printersofthe  Sacred  Union,  1589- 1594. 
RoLiN  Thierry,  ] 
Claude  Prevost,  1614-1629. 

Nicolas  Callemont,  i  622-1 631.  His  widow  held  the  office  in  163 1. 
Pierre  L'Huillier,  1610. 

Antoin  E  EsTi  enn  E,  1 6 1 4- 1 664.  In  1 649  he  called  himself  'first  king's 
printer.''* 

Henri  Estienne,  his  son,  obtained  the  reversion  of  his  father's  office 
in  1652,  but  he  died  before  him,  in  1 661,  probably  without  acting.^ 

Pierre  Moreau,  1640-1647.  (For  his  bastard  italic.) 

Antoine  Vitre,  1622-1674.  'Linguarum  orientalium  typographus 
regius.' 

Sebastien  Chapelet,  1639. 
Jacques  de  Gast,  1640. 

Sebastien  Cramoisy,  December  24, 1633.  In  1640  he  was  appointed 
manager  of  the  royal  printing-'office  of  the  Louvre ;  in  1 65 1  he  re^ 
signed  the  office  of  king's  printer  in  favour  of  his  grandson,  Sebas/ 
TIEN  Mabre-Cramoisy,  and  died  in  1669. 

1.  Brunet,  Manuel  de  Libraire,  5th  edit.,  vol.  ii,  col.  1672. — See  infra,  p.  307  Kin£ s 
Printers  for  the  Mathematics. 

2.  He  calls  himself  ' architypographus  regius '  in  a  work  printed  by  him  in  1608. 

3 .  See  the  Recette  g'en'erale  des  finances  of  Paris  for  1 67 1 ,  in  the  national  archives,  KK.  356, 
fol.  53. 

4.  See  my  Les  Estienne,  p.  35. 

5.  Renouard,  Annates  des  Estienne,  3d  edit.,  p.  228,  col.  i .  See  also  my  Les  Estienne,  p.  36. 


APPENDICES  305 

Sebastien  MABRE-CRAMOiSY(grandsonofthe  preceding,  throughhis 
mother),  1 66 1  - 1 68  7 .  He  also  held  the  office  of  manager  of  the  royal 
printing-office. 

Sebastien  Hure,  August,  1650. 

Sebastien  Hure  II  (son  of  the  preceding),  appointed  in  1662,  in 
place  of  Henri  Estienne,  Antoine's  son;  died  in  1678. 

Pierre  Rocolet,  April  14, 1635;  '^^^  1662. 

Damien  Foucauld  (son-'in^aw  of  Rocolet),  succeeded  him ;  1662- 
1687  (?). 

pRANfois  MuGUET,  appointed  as  locum  tenens  in  November,  1661, 
was  definitively  appointed  in  1671 ;  resigned  his  letters  in  1686,  to 
replace  Pierre  le  Petit,  at  the  salary  of  225  Hvres.  Muguet  died 
in  1702. 

Francois-Hubert  Muguet  (son  of  the  preceding)  succeeded  him; 
1 702-1 742. 

Frederic  Leonard.  Succeeded  Francois  Hure;  1678-1712. 
Frederic  Leonard  II  (son  of  the  preceding)  succeeded  him ;  1713- 
1714. 

Jean  de  la  Caille,  1644-1673. 

Jean-Baptiste  Cognard,  Succeeded  Foucauld  ;  1687-1737. 
Cognard's  widow,  1 737-1 760. 

Jean-Baptiste  Cognard  II  (son  of  Jean-Baptiste),  1717-1752, 

when  he  resigned. 
Jacques  Langlois,  1660-1678. 

Jacques  Langlois  II  (son  of  the  preceding),  1678-1697. 
Jean-Baptiste-Alexandre  Delespine,  1 702-1 746  (?). 
Guillaume  Desprez,  1686-1708. 

GuiLLAUME  Desprez  II  (son  of  the  preceding),  1 740-1 743,  when  he 
resigned. 

GuiLLAUME-NicoLAS  Desprez  (son  of  the  preceding),  1743-1788, 

He  was  at  the  end  the  dean  of  the  king's  printers. 
Pierre-Alexandre  le  Prieur,  1747-1785. 
Claude-Charles  Thiboust,  appointed  king's  printer  in  1756,  died 

in  1757. 

N.  DE  Maisonrouge  (widow  of  the  preceding),  succeeded  him,  and 

held  the  title  of  king's  printer  tiU  1788. 
Laurent-Francois  Prault,  1780  ( ?). 

Louis-Fran^ois  Prault  (son  of  Laurent)  succeeded  him;  1780- 
1788. 


3o6  GEOFROY  TORY 

Antoine  Boudet,  1768-1779. 

Francois  le  Breton;  died  October  4, 1779. 

Philippe-Denis  Pierres  ;  succeeded  Le  Breton  by  virtue  of  letters 

dated  October  7,  1779.*  He  was  appointed  first  king's  printer  in 

August,  1785. 
Jacques-Gabriel  Clousier,  1788. 
Auguste-Martin  Lottin,  i 775-1 789. 
(Demoiselle)  Herissant,  1788. 

King's  Printers  for  Greek.' 

Conrad  Neobar,  1538-1540. 
Robert  Estienne,  1540-1550. 
Adrien  Turnebe,  1552-1555. 
Guillaume  Morel,  1555-1564. 
Michel  de  Vascosan,  1560-1576. 
Robert  Estienne  II,  1561-1570. 
Federic  Morel,  1571-1581. 
Etienne  Prevosteau,  i58i-i6oo(?). 
Pierre  Pautonnier,  i6oo-i6o5(?). 

Printers  of  the  King's  Closet. 

Jacques  Collombat,  in  1743. 

N.  Dehansy  (widow  of  the  preceding),  1744. 

Jacques-Francois  Collombat  (son  of  Jacques),  1744-1751. 

1 .  This  appointment  involved  him  in  some  difficulty  with  his  colleagues,  as  maybe  seen  from 
the  following  letter,  of  which  I  found  a  copy  in  the  Bibliotheque  du  Louvre,  in  the  Nyon  col- 
lection. 

'  When  I  asked  and  obtained  the  office  of  king's  printer,  of  which  M.  Le  Breton  had  been 
deprived  by  death,  I  had  no  idea  that  it  could  cause  any  heart-burning  on  the  part  of  my  con- 
freres, with  whom  I  have  always  earnestly  desired  to  be  on  the  best  of  terms.  If  I  had  been  able 
to  foresee  such  a  thing,  I  am  too  much  a  friend  of  peace  to  have  voluntarily  exposed  myself  to 
it  by  assuming  a  title  which  was  subject  to  dispute.  But,  monsieur,  when  I  submitted  the  ques- 
tion to  you,  I  thought  that  I  could  see  that  it  did  not  seem  to  you  free  from  doubt.  For  this 
reason  I  cannot  hesitate  to  abandon  claims  which  seem  to  me  well-founded. 

'  I  beg  you  therefore,  monsieur,  to  regard  as  not  having  been  made  the  claims  that  I  put 
forward  on  this  subject,  and  as  my  confreres  do  not  pretend  that  any  one  of  them  has  the 
right  to  style  himself  first  king's  printer,  in  like  manner  I  agree  to  assume  simply  the  title  of  or- 
dinary printer  to  his  Majesty,  and  that  we  shall  be  placed  in  the  Almanack  Royal  in  the  order 
of  our  reception. 

'Paris,  20  November,  1779.  Pierres.* 
For  this  famous  printer,  see  Lottin,  Catalogue  des  Imprimeurs  de  Paris,  vol.  ii,  p.  139. 

2.  For  this  paragraph,  see  my  Les  Estienne. 


APPENDICES  307 

Jacqueline  Tarle  (wife  of  Jacques-Francois),  i  751-1752. 
Jean-Jacques  Estienne  Collombat  (their  son,  1 752-1 763). 

Printers  of  His  Majesty's  Closet,  Household  and  Buildings. 

Jean-Thomas  Herissant,  i 764-1 772. 
Marie-Nicole  Herissant  (his  daughter),  1 772-1 788. 

Kings  Printers  for  Mathematics. 

Jean  Leroyer,  February  3,  1553(1554,  n.  s.)-i565. 
Pierre  Levoyrier,  1575-1584. 

King's  Printer for  Coins. 
Jean  Dallier,  August  23,  1559. 

King's  Printers  for  Engravings. 

Pierre  Lengevin,  buried  February  5,  1609.' 
Melchior  Ta vernier, 'living  on  the  lie  du  Palais/ 

King's  Printers  for  Music. 

Robert  Ballard,  i  551- 1606.  Letters  patent  of  May  5, 1516,^  inform 

us  that  he  received  250  livres  tournois  in  this  capacity. 
LucRECE  Le  Be  (Ballard's  widow),  1606. 
Pierre  Ballard  (son  of  Robert  I),  1608-1640. 
Robert  II  (son  of  Pierre),  1640-1679. 

 widow  of  Robert  II,  1679-1693. 

J.-B.-Ch.  Ballard  (grandson  of  Robert  II),  1694-1750. 

 (widow  of  the  preceding),  1 750-1 758. 

 Chr.-J.-F.  Ballard  (son  of  J.-B.-Ch.),  i  758-1 765. 

 (widow  of  the  preceding),  1 765-1 792. 

Pierre-Robert-Christophe  Ballard  (son  of  Chr.-J.-F.),  1779- 
1792. 

After  the  Restoration  Louis  XVIII  named  as  king's  printers  mem^ 
bers  of  certain  famiKes  in  the  printing  trade  which  had  formerly  borne 
that  title,  and  some  others  who  had  won  great  renown  in  their  trade ; 

1 .  He  is  mentioned  as '  imprimeur  du  roi,*  without  other  description,  in  the  registers  of  the 
cemetery  of  Les  Reformes  de  ]a  Trinite,  rue  Saint-Denis ;  but  I  think  that  he  was  simply  an 
engraver  on  copper,  like  Tavernier. 

2.  [Clearly  a  misprint ;  perhaps  1 56 1 .] 


3o8  GEOFROY  TORY 

such  are  the  first  six  in  the  following  list,  which  includes  all  the  king's 
printers  of  the  Restoration. 

LoTTiN  DE  Saint-Germain,'  1815-1828. 

Ballard/  1815-1828. 

Ballard's  widow,  1828-1830. 

Valade,3  18 15-1822. 

Pierre  Didot,  the  elder,  18 15-1822. 

Jules  Didot,  his  son,  succeeded  him;  1822-1830. 

Firmin  Didot  (Pierre's  younger  brother),  1815-1827. 

Madame  Herissant-Ledoux,  18 16-1822. 

Lebel,  successor  to  Valade,  1822-1825. 

Lebel's  widow,  1826. 

Lenormant,  1824-1830. 

Ambroise  Didot  (son  of  Firmin)  was  appointed  king's  printer  by 
patent  of  December  7, 1 829.  The  office  became  extinct  in  his  hands  in 
July,  1 830.  M.  Ambroise  Firmin  Didot,  who  thus  closes  the  list  of  king's 
printers,  opened  by  Tory,  has  another  bond  of  union  with  the  latter :  like 
him  he  was  an  engraver.  See  what  M.  Firmin  Didot  pere  wrote  on  this 
subject  at  the  beginning  of  his  tragedy, '  Annibal,'  which  was  printed 
by  him  in  18 1 7,  precededby  a  letter  fi"om  his  son,  who  was  then  travel^ 
ling  in  Greece ;  the  letter  being  printed  in  an '  English '  ty^e  which  he 
tells  us  was  engraved  by  his  son  Ambroise."* 

IX 

Note  concerning  the  King's  Binders  and  Librarians. 

There  had  long  been  fiinctionaries  known  as '  libraires  du  roi '  (king's 
librarians),  when  Francois  I  instituted  the  office  of  king's  printer.  In-' 

1 .  He  had  been  in  business  since  1 784. 

2 .  He  had  been  in  business  since  1 8 1 3 . 

3 .  He  had  been  in  business  since  1785. 

4.  There  were  royal  printers  in  various  cities  of  France  after  the  latter  part  of  the  sixteenth 
century  ;  but  the  office  was  neither  regularly  instituted  nor  general  in  its  scope.  These  printers 
seem  to  have  had  it  specially  in  charge  to  print  official  documents  in  the  provinces,  which  func- 
tion conferred  on  them  certain  privileges,  and  sometimes  caused  difficulties  with  the  local  au- 
thorities, who  also  had  their  special  printers.  The  first  editions  of  the  edicts,  ordinances,  etc., 
emanating  from  the  central  authority  were  afterwards  placed  in  the  hands  of  the  royal  printing- 
office  in  Paris.  See  what  I  have  to  say  on  this  subject  in  my  work  on  Les  Estienne,  p.  56. 

In  1 844  M.  Le  Roux  de  Lincy  published  in  the  Journal  de  P  Amateur  de  livres,  and  also 
had  printed  separately  in  an  octavo  pamphlet  of  1 6  leaves,  a  compilation  entitled :  Catalogue 
chronologique  des  imprimeurs  et  libraires  du  roi,  par  le  pere  Adr-^ ;  but  those  shapeless  memo- 
randa were  not  originally  intended  for  printing,  and  I  have  been  unable  to  obtain  the  slightest 
particle  of  useful  information  from  them. 


APPENDICES  309 

deed,  we  find  that  GuiJlaume  Eustace  bore  the  title  as  early  as  1 5  74,  that 
is,  under  Louis  XII.  He  is  so  styled  in  the  subscript  of  an  edition  of'  Les 
Chroniques  de  France,'  in  three  volumes,  folio.  At  the  end  of  the  last  vol^ 
ume,we  read : '  Here  endeth  the  third  and  last  volume  of  the  great  chron' 
icles  of  France,  printed  at  Paris  in  the  year  a  thousand  five  hundred  and 
fourteen,  the  first  day  of  October ,  for  Guillaume  Eustace,  libraire  du  Roy^ 
and  sworn  binder  to  the  University  of  Paris.' 

In  our  first  edition  we  expressed  the  opinion  that  Eustace  may  have 
been  replaced  in  1522  by  Jean  de  Sansay,  who  is  described  as  king's  H" 
brarian,  in  1 530,  in  the  accounts  published  by  M.  de  Laborde. '  This  is  an 
error.  Eustace  was  still  king's  librarian  in  1 533 .  Jean  de  Sansay  was  not, 
as  Eustace  W2S,purveyor  to  the  king's  library,  but  keeper  thereof,  a  title 
assumed  in  more  exact  terms  by  one  of  his  successors,  Jean  Gosselin,  in 
a  book  which  he  caused  to  be  printed  in  1583.^ 

Jean  de  Sansay's  immediate  successor,  under  Francois  I,  seems  to  have 
been  Claude  Chappuis,  who  was  king's  librarian  before  March  28,1 543, 
as  may  be  seen  fi-om  the  following  document,  dated  January  6 , 1 544,  new 
style,  the  original  of  which  is  in  the  Joursauvault  collection  at  the  Biblio'' 
theque  du  Louvre :  — 

*In  the  presence  of me,notary  and  secretary  ofthe  state  tothe  King  our 
sire,Jehan  Estienne,^  dealer  in  silversmithery  to  thequeen,having  power 
of  attorney  fi-om  maistre  Claude  Chappuys,  librarian  to  our  said  lord, 
thereby  sufficiently  authorized,  did  by  deed  of  the  twenty^eighth  day  of 
March  a  thousand  five  hundred  forty  ■'three,  after  Easter  last  past,  execu^ 
ted  before  Jehan  Langlois,  royal  notary  in  the  bailiwick  or  chatelany  of 
Moret,  aver  that  he  had  had  and  received  from  maistre  Jacques  Boucher 
tel,  treasurer  and  paymaster  ofthe  household  of  our  said  lord,  the  sum  of 
two  hundred  forty  livres  tournois  on  account  of  his  office  of  librarian  dur-* 
ing  the  year  beginning  the  first  dayof  January  a  thousand  five  hundred 

1.  Archives,  reg.  KK,  99,  fol.  1 16  verso.  '  Librairie.  — To  maistre  Jean  de  Sansay,  li- 
braire ordinaire  to  tlie  King  our  Sire,  the  sum  ot  two  hundred  forty  livres  tournoys,  ordered 
[to  be  paid]  to  him  by  our  said  lord  and  his  warrant,  for  his  wages  as  libraire  ordinaire  to  our 
said  lord,  [said  office  being  held]  by  him  during  this  present  year  beginning  the  first  day  ofjsnu- 
ary  a  thousand  five  hundred  twenty-eight  [i  529  n.  s.]  ,  and  ending  the  last  day  of  December 
following,  a  thousand  five  hundred  twenty-nine,  of  which  sum  this  present  clerk  has  made  pay- 
ment to  the  said  Sansay  by  virtue  of  said  warrant,  as  appears  by  his  receipt  signed  at  his  request 
by  Huault,  notary  and  secretary  to  the  King,  the  twenty-third  day  of  January  in  the  year  a 
thousand  five  hundred  twenty-nine  now  current.  For  the  said  sum  of  11'^  xl  1.  t.' 

2.  Brunet,  Manuel  de  Libraire,  5th  edit.,  vol.  ii,  col.  1672. 

3 .  Was  this  Jehan  Estienne  of  the  family  of  the  great  printers  ?  I  am  unable  to  say.  He  is  not 
mentioned  in  any  of  their  genealogies,  nor  is  the  Gommer  Estienne,  whom  I  have  referred  to  in 
my  Les  Estienne. 


310  GEOFROY  TORY 

forty ''two  [  1 543,  n.  s.],  and  ending  the  last  day  of  December  a  thousand 
five  hundred  forty-'three.  For  which  sum  of  ii'xl  livrestournoisthe  said 
Jehan  Estienne,  as  attorney  as  aforesaid,  hath  held  and  doth  hold  himself 
accountable  and  duly  paid,  and  hath  acquitted  and  doth  acquit  the  said 
maistre  Jacques  Bouchetel,  treasurer  as  aforesaid,  and  all  other  persons. 
Witness  my  sign  manual  hereto  affixed  at  his  request.  The  vi  day  of 
January  in  the  year  a  thousand  five  hundred  forty  ■'three. 

'BURGENSIS." 

In  'La  Renaissance  des  Arts,  'M.  de  Laborde  has  published  several 
extracts  from  the  royal  accounts  relative  to  this  Claude  Chappuis. 

'  To  maistre  Claude  Chappuis,  librarian  to  our  said  lord,  the  sum  of 
thirty^three  livres  five  sols  tournois,  to  him  ordered  to  be  paid  by  our  said 
lord,  to  reimburse  him  for  several  small  sums  by  him  fiirnishedand  paid 
for  the  embellishment  of  books  which  our  said  lord  hath  caused  to  be 
brought  fi-om  Thurin,  for  the  carriage  thereof  fi"om  Fontainebleau  to 
Paris  and  toSainct^Germain^en^Laye,  and  from  said  Sainct^Germain  to 
Paris  and  Fontainebleau,  and  for  expense  incurred  by  said  Chappuis,  say 
XXXIII  L.  v.  s.'^ 

*  To  maistre  Claude  Chappuys,  librarian  to  our  said  lord,  the  sum  of  six 
times  twenty  and  ten  livres,  and  ten  sols  tournois  to  reimburse  himfor  the 
like  sum  which  he  hath  paid  of  his  own  moneys  to  a  bookseller  of  Paris 
named  Le  Faucheux,  for  having,  by  command  of  our  said  lord,  re^bound 
and  gilded  divers  books  firom  his  library,  in  the  manner  and  guise  of  a 
gospel  heretofore  bound  and  gilded  by  said  Le  Faucheux,  written  in  let' 
ters  of  gold  and  ink.'  ^ 

Doubtless  this  Claude  Chappuis  is  the  same  man  who  belonged  to  the 
household  of  Jean  du  Bellay,  Ambassador  to  Rome  in  1 53  6 .  Having  be^ 
come  librarian  to  the  King,  he  probably  used  in  gilding  the  books  men^ 
tioned  in  the  last  quotation,  the  irons  which  Francois  I  had  bought  in 
Venice,  as  we  learn  from  another  account,  undated,  but  a  little  earlier, 
preserved,  like  the  others,  in  the  national  archives. 

♦  To  Loys  Alleman,  Fleurantin,  for  sending  to  Venice  for  irons  to  prinf* 
certain  Italian  books,  and  for  the  cost  of  such  printing,  the  sum  of  v 
livres.' 

As  for  Le  Faucheux,  mentioned  here  as  a  binder,  he  is  evidently  Eti^ 

1 .  The  name  is  left  blank  at  the  beginning  of  the  original  document,  and  the  signature  is  very 
doubtful.  But  the  name  Burgensis  or  Bourgeois,  is  very  common  at  that  period.  Francois  I  had  a 
physician  called  Louis  Burgensis. 

2.  La  Renaissance  des  Arts,  vol.  i,  p.  973.  3.  Ibid.,  p.  925. 
4.  That  is  to  say,  to  goffer. 


APPENDICES 


3" 


enne  RofFet,  called  Le  Faucheux,  described  as  binder  and  librarian  to  the 
King  on  the  title-page  of  the '  GEuvres  de  Hagues  Salel,'  which  he  pub^ 
lished,  and  which  was  printed  at  Paris,  in  octavo,  in  1540.'  He  was  the 
son  of  Pierre  Roffet  (publisher  to  the  two  Marots,  father  and  son),  who 
had  for  his  sign  a  'faucheur,'  mower/ 

1 .  This  volume  is  without  date,  but  the  license  to  print  is  dated  February  23,  1539(1  540, 
n.  s.). 

2.  [See  supra,  p.  138.] 

X 

Passages  WRITTEN  IN  Latin,  IN  most  cases  by  Tory,  transla' 

TIONS  OF  WHICH  ARE  INSERTED  IN  THE  BODY  OF  THE  BOOK. 


Godofredus  Torinus  Biturkus  Joanni  Rossel- 
letto,  liter  arum  amantissimo,  S.  D.  P. ' 
Egregiam  de  te  spem ,  Joannes  ornatissime,  tuis 
et  cognatis  et  patriae,  non  solum  moribus,  imo 
et  benefactis,  te  velle  nobiliter  ostendere,  nun- 
quam  (  opinor  )  tu  prastermittes  neque  desistes. 
Quo  tu  Reipubl.  vel  consilio  prodesses,  curasti 
ut  per  me  Quintilianus  emendatior  caracteri- 
bus  et  impressioni  daretur  bellissime.  Multis 
exemplariis  diligenter  collatis,  unum  (  mendis 
pene  innumerabilibus  deletis)  castigatissimum 
non  pigra  manu  feci;  ipsum,  ut  jussisti,  a  Par- 
rhisiis  Lugdunum  misi.  Utinam  et  qui  impri- 
mentnovosnonsuperinducanterrores.  Vale,  et 
me  ama. 

Parrhisiis,  apud  collegium  Plesseiacum,  ter- 
tio  calendas  Mardas. 

B 

Imbutam  ausonia  cupiens  me  reddere  lingua 
Artibus  et  pariter  me  decorare  bonis, 

Nocte  dieque  docens  pater  ut  charissimus,  ipse 
Fundamenta  mihi  dulcia  et  ampla  dabat. 


MONITOR.  Hanctibiquis  struxit  gemmisinsig- 

nibus  urnam  ? 
AGNES.  Quis?  Meus  in  tali  nobilis  arte  pater. 
MON.  Excellens  certe  est  figulus  genitor  tuus. 
AGNES.  Artes 

Quottidie  tractat  sedulus  ingenuas. 
MON.  An  ne  etiam  scribit  modulos  et  carmina.? 
AGNES.  Scribit. 

Dulcibus  et  verbis  hsec  mea  fata  beat. 
MON.  Ipsius  est  nimirum hominis  solertia  mira? 
AGNES.  Tamcelebrem  regiovixtulit  uUavirum. 

I    Salutem  dicit  perpetuam. 


D 

VIATOR.  Mecenatealiquo  certe  dignissimus  ille 
est. 

GENIUS.  Mecenas  franco  rarus  in  orbe  viget. 
Nemo  hodie  ingenuas  donis  conformibus  artes 

Aut  fovet,  aut  ulla  sorte  fovere  parat. 
Non  est  in  pretio  probitas,  nec  Candida  virtus. 

Infelix  adeo  regnat  Avaricia. 
Fraus,  dolus  et  vitium  praestant ;  virtutibus  omne 

Postpositis  miserum  serpit  ubique  nephas. 
VIA.    Quid  facit  ille  igitur  Musis  excultus 
amcenis  ? 

GEN.  In  propria  gaudet  vivere  posse  domo. 
VIA.  Ad  reges  alacri  deberet  tendere  passu. 
GEN.  Non  curat,  quoniam  libera  corda  gerit. 
Isti  nonnunquam  gaudent  spectare  potentes 

Carmina,  sed  quid  turn  t  nictibus  ilia  beant. 
Deberent  gemmis  auroque  rependere  pure 

Aurea  de  superis  carmina  ducta  polis. 
Sed  potius  fatuis,  nebulonibus  atque  prophanis 

Contribuunt  stulti  grandia  dona  leves. 


Egregii  qddam  sunt  felici  hoc  seculo  pic- 
tores,  lector  humanissime,  qui  suis  lineamen- 
tis,  picturis  etvariis  coloribus  deos  gcntilitios  et 
homines,  itemque  alias  res  quascunque  adeo 
exacte  depingunt,  ut  illis  vox  et  anima  deesse 
tantummodo  videatur;  sed  ecce,lector  human- 
issime, egojam  tibi,illorum  propemodum  more, 
domum  ofFero,  non  solum  suis  lineamends  et 
partibus  elegantem  et absolutam ,  sed  edam  pul- 
chre  loquentem  et  encomio  sese  pardculatim  de- 
scribentem. 


Godofredo  Torino,  quem  Ulvaricum*  Bit- 
urigum  peperit,  quemLutctia  Parisiorum  fovit, 

2.  Read  ylvaricum. 


I 


312 


GEOFROY  TORY 


viro  linguae  turn  latinae  turn  graecae  peritissimo, 
littcrarum  denique  amantissimo,  typographo 
solertissimo  et  bibliographo  doctissimo,  quod 
de  partibus  asdium  elegantissima  distica  scrip- 
serit,  tumulos  aliquot  ludicros  veterrimo  stylo 
latine  condiderit,  Xenophontis,  Luciani,  Plu- 
tarchi  tractatusegrzeco  in  gallicumconverterit, 
Parisiis  in  Burgundiae  gymnasio  philosophiam 
edocuerit,  primus  omnium  de  re  typographica 
sedulo  disseruerit,  litterarum  sive  caracterum 
dimensiones  ediderit,  et  Garamundum  calco- 
graphum  principem  edocuerit,  viri  boni officio, 
quoad  devixit,  anno  m.d.l.  semper  defunctus, 
a  monente  Joanne  Toubeau,  etiam  typographo 
et  auctore,  mercatorum  prastore,  aedili  Bituri- 
censi,  obnegotia  civitatis  difficillima  ad  regem 
et  concilium  legato,  ejusdem  Torini  abnepote, 
et  typographicorum  insignium  haerede,  Nico- 
laus  Catharinus,  nobilis  Bituricus,  regis  advoca- 
tus  et  senator  in  Biturigum  metropoli,  a  teneris 
annis  hue  usque  et  deinceps  rei  typographicae 
addictissimus,  cursim  raptimque  scripsit,  exe- 
unte  novembri  m.dc.lxxxiv. 

G 

Godofredus  Torinus  Bituricus  Philiberto  Ba- 
boo, (ivi BituricOjSerenissimi  Gallorum  regis 
dispensatori  ac  earner ario  meritissimo,  salu- 
tem  dicit  humilimam. 

Pomponium  Melam,  ornatissime  Philiber- 
te,  geographorum  authorem  luculentissimum, 
quum  nuper  inspicerem,  eum  tot  mendis  de- 
pravatum  ac  lacerum  esse  cognovi,  ut 

.  .  .  Ecce  ante  oculos  moestissimus  author 
Visus  adesse  mihi,  largosque  efFundere  Ac- 
tus; 

Fergilius,  Eneid.  ij. 

Ecce  inquam: 

Raptatus  bigis  (heu  miserum)  aterque  cruento 
Pulvere,  perque  pedes  traiectus  lora  tumentes, 
Quam  gravitergemitus  imo  de  pectore  ducens. 

Id.,  ibid. 

Talibus  verbis  conqueri  videbatur:  Siccine  ego 
qui  tot  terras,  tot  gentes,  insulas,  amnes,  freta, 
vada,  carybdes,  tarn  eleganterdescripsi,  quique 
totius  orbis  descriptionem  tarn  confidenter  ag- 
gressus  sum,  sic  mancus,  sic  mutilus,  sic  trun- 
cus  habebor? 

Hei  mihi!  quam  cassus  sum,  quamque  simili- 
mus  illi 

1.  The  book  has  potuit,  but  the  errat; 

2.  The  book  has  adiiecimus. 

3.  The  book  has  (fuandotjuidam,  but 


Hectori  qui  quondam  concretos  sanguine  crincs 
Vulneraque  ilia  tulit  quae  circum  plurimamuros 
Accepit  patrios.  .  .  . 

Id.,  ibid. 

Nisi  medicabiles  aliquae  in  me  manus  se  exten- 
dant,  sine  dubio,  iam  emoriar. 

Tarda  Philoctetaj  sanavit  crura  Machaon, 
Phoenicis  Chyron  lumina  Philyrides; 

Et  Deus  extinctum  Cressis  Epidaurius  herbis 
Restituit  patriis  Androgeona  focis. 

Proper. ,  lib.  ij,  ad  Macenatem. 

Sed  sane  credo  quod 

Hoc  si  quis  vitium  possit  ■  iam  demere,  solus 
Tantalea  poterit  tradere  poma  manu. 

Dolia  virgineis  idem  ille  repleverit  urnis, 
Ne  tenera  assidua  colla  graventur  aqua; 

Idem  Caucasea  solvet  de  rupe  Promethei 
Brachia,  et  a  medio  pectore  pellet  avem. 

Idem,  ibid. 

Certe  statim  apud  me  dixi:  Si  Machaon,  si 
Chyron  aut  ^sculapius  essem,  libens  huic  rei 
subvenirem.  Sed  quid  autem  si  manuum  mea- 
rum  opellam  im  penderem  ?  Nonne  remedio  esse 
possem?  Forte,  at  equidem  expertus,  et  id  quo 
saltern  emendatior  habeatur. 

Quod  si  deficiant  vires,  audacia  certe 
Laus  erit:  in  magnis  et  voluisse  sat  est. 
Idem,  lib.  ij,  ad  Musam  \^Ad  Augustum?'\  . 

Pauculas  ergo  annotationes  adiecimus,'qui- 
buscum  sub  tuo  nomine  (quandoquidem  3  et 
literarum  et  literatorum  amantissimus  es)  bonis 
utaiuntavibus  Pomponius  ipse  Mela  iamtutius 
exeat.  Vale. 

Parrhisiis,  vj  no.  decemb.  MCCCCC  vij. 

H 

Habes,  ornatissime  Philiberte,  Pomponium 
ipsum  Melam  pluribus  quibus  scatebat  mendis 
iam  emendatum.  Curavi  siquidem  accuratis- 
simo  (qui  etiam  primus  apud  Parisios  graecis 
caracteribus  lotissimas  addidit  manus)  impres- 
sori  dare.  Eum  diligentius,  et  quo  politior  ac 
absolutior  in  tuas  primum,  deinde  ca;terorum 
manus  perveniat,  recognoscere  pauculaque  in 
eum  subannotare  non  ingratus  volui.  Tu  nunc 
cum  ipso  per  totum  orbem,  quemadmodum  et 

informs  us  that  we  should  read  fossil. 
the  errata  corrects  the  error. 


APPENDICES 


313 


Phiclus,  qui  super  aristas  eas  non  frangendo 
cucurrisse  fertur,  non  tantum  secure,  sed  con- 
fidenter  ac  praesentissime  ire  ac  redire  vales. 
Si  tigres  animalium  pernicissimos  comprehend- 
ere,  catoblepam  sine  tui  malo  cernere;  si  dra- 
cones,  feras,  satyros,  panes,  silvanos;si  Indos, 

Et  penitus  toto  divisos  orbi  Britannos ; 

si  Sauromatas,  Afros,  eorum  denique  si  me- 
dios  omnes  populos  videre,  pariterque  ipso- 
rum  mores  mirabiles  cognoscere  desideras,  iioc 
in  orbe,  id  est,'  Pomponio,  manibus  tuis  am- 
plissime  comprehenso,  sine  dubio,  iam  optime 
dispicere  potes.  Vale  et  me  tibi  devotum  sem- 
per ama. 

Parisiis,  nono  calen.  januarias. 

CIVIS. 

In  Pomponium  Me  lam. 
Mela,  quibus  plaenus  fueras  erroribus,  es  iam 

Excussus,  tecum  paucula  menda  manet.^ 
Tu  melior  multo  longeque  probatior  extas 

Quam  prius;  hoc  fecit  tantula  nostra  manus. 

Ad  Philibertum  Baboum. 
Quod  mea  vita  tibi  multos  se  debeat  3  annos. 
Hoc  duo  versiculi  iam,  Philiberte,  probant. 
AX<^a  mihi  teneris  habui  quodcumque  sub 
annis. 

Id  voluit  foelix  wfieya  ferre  tuum. 
Q 

CIVIS. 


Quia  nihil  est  diffilius  (/zV)  quam  in  nullo 
errare,  non  absurdum  esse  videtur  si  cum  lec- 
toris  bona  pace  paucorum  admodum  erratorum 
paucula  retractentur,  ut  illo  verbo  cum  dicit  in 
epistola  potuit,  scribendum  est  possit.  .  .  . 

J 

Reverendo  in  Christo  patri  et  domino  D. 

Germano  Gannaio,  Cathurcensium  episcopo 

designato,  Godofredus  Torinus  Bituricus 

salutem  dicit  humilimam. 

Pium  papam,  antistes  excellentissime,  au 
thorem  et  dignitate  et  singularitate  sine  dubio 
venerandum,  in  Asia  et  Europae  descriptione, 
iam  tersiorem  et  emendatiorem  quam  antea 

1.  The  book  has       which,  in  the  Middle  Ages,  stood  for  id  est. 

2.  Should  we  not  read  manent  ? 

3 .  In  the  errata  it  is  said  that  we  should  read  debebat,  but  that  word  does  not  fit  the  metre. 


legebatur  in  luce  exire  curavimus.  Quem 
autem  ei  recenter  ex  chalcotypea  officina  scse 
expedienti,  virum  delectum,  literarum  aman- 
tissimum,  et  singulari  virtutc  picnissimum,  sta- 
tim  devotissime  salutatum  iret,  potiorem  sane 
te,  dignioremve,  cognoscere  potui  nullum. 
Summum  ipsum  pontificem  te  maxime  vencra- 
bilem  antistitem  invisere  rem  esse  putavi  non 
iniucundam.  Ipsum,  inquam,  geographiae  et 
lectu  dignissima;  (uti  videre  poteris)  historise 
non  pcenitendum  authorem,  te,  bonarum  om- 
nium literarum  amatorem  et  cultorem,  acce- 
dere  et  amplecti,  factum  opido  quam  decentis- 
sime  existimavi,  gemmam  auro,  encaustum,  id 
est  opus  igni  pictum,  argento,  et  palmam  vin- 
centi  conferre,  procul  dubio  nihil  aliud  est 
quam  bona  bonis, splendida  splendidis  et  merita 
meritis  addere.  Tibi  profecto  et  cum  his  alia 
ratione  pulcherrimum  hoc  opus  meritissime  de- 
dicari  debet,  siquidem  per  capita  distinctum,  et 
in  commodiorem  ordinem,  te  promotore  et  iu- 
bente,  redactum  est.  Quo  facilius  (ut  voluisti) 
et  melius,  tibi  in  primis,  consequenter  aliis 
omnibus  studiosis  et  legentibus,  regiones  ter- 
ra, quae  numero  sunt  multae,  et  in  eis  res  scitu 
periucunds  capiantur  et  memoris  commen- 
dentur,  capitatim  nominibus  fluviorum,  opi- 
dorum,  locorum,  ducum  et  aliarum  rerum  in- 
signium  in  margine  coannotatis,  quae  etiam 
omnia  in  indice  numeratim  inveniuntur,  divisi- 
mus,  ipsam  hanc  nostram  lucubratiunculam  tibi 
antistiti,  reverentia  percelebri,  sincsro  dedica- 
musanimo.  Impar  sine  controversia  est,  quam 
tuae  reverendae  paternitati  deberem  ofFerre,  tu 
tamen,  cuius  benignitatem  et  integritatem  om- 
nes praedicant(et  me  minime  latet)excellenti5- 
simam,  ea  fronte  qua  huiusmodi  alias  solitus  es 
ipsam  purissimas  in  manus  tuas,  si  placet,  acci- 
pies.  Vale. 

Parrhisiis,  apud  collegium  Plesseiacum,  6 
nonas  octobris  anno  Domini  i  509. 

K 

Godofredus  Torinus  Bituricus  ad  lectorem. 
Quod  eru^re,  contendere,  mis^re  et  huius- 
modi multa,  per  tale  e  in  penultima  scripta 
leges,  factum  est  ut  ipsa  indicativi  prasterita, 
qucC  regulariter  penultimam  habent  longam, 
a  presenti  et  prjeterito  imperfecto  modi  in- 
finitivi,  quae  in  tertia  coniugatione  semper 
corripiunt  penultimam,  suam  quantitatem,  et 
quam  inter  legendum  proferre  debes,  tibi  os- 


3H 


GEOFROY  TORY 


tendant.  Illam  Psalterii  Quincuplicis  nuper  in 
lucem  dati  perelegantem  et  absolutam  script- 
uram  libenter  sum  imitatus  et  insecutus.  Inve- 
nies  etiam  ipsum  e  in  aliquibus  dicdonibus, 
similiter  in  genitivis  et  dativis  singularibus, 
nominativiset  vocativis  pluralibus  primaedecli- 
nationis  nonnunquam,  more  quorumdam,  pro 
aedipiitongo  poni,  sedrarius.  Insuper  haec  con- 
sulto  scripsi  mistum  per  s,  et  non  per  x,  nam 
misceo  facit  miscui  in  prseterito,  unde  et  mis- 
tum analogice,  intellego,  toties,  quoties,  litus, 
opidum,  litera,  tralatum,  aliquando,  et  id  genus 
alia,  secundum  op6oypa<f>iafi,  id  est  rectam 
scripturam,  observanda.  TVRCAM  etiam  in 
prima declinatione,  quod  multi  in  secunda  pro- 
ferunt,  scripsi.  Michael  Tarchaniota  Marulus 
ConstantinopolitanusadCarolum  regem  Fran- 
ciae  plausibiliter  author  est  mihi.  Eius  sunt  haec 
verba: — 

Invicte  magni  rex  Caroli  genus. 
Quern  tot  virorum,  tot  superum  piae 
Sortes  iacentis  vindicemque 
lusticijE  fideique  poscunt; 
Quem  mesta  tellus  Ausonis  hinc  vocat, 
Illinc  solutis  Grecia  crinibus, 
Et  quicquid  immanis  profanat 
TVRCA  Asiae,  Syriasquc  pinguis,  et 
catera. 

Quod  etiam  plureis  parteis,  omneis  monteis, 
accusatives  in  eis  protuli,  grammatice  quidem 
etlatine,  authore  Prisciano,  lib.  7,  cap.  deac- 
cusativis  pluribus  tertiae  declinationis,  facere 
visus  sum.  Ea  est  pulchra  ad  accusativum  a 
nominative  discriminandumdiferentiam,et  qua 
mille  sunt  usi  authores,  de  quibus  multis  Salusti- 
um,  Vergilium  et  Plautum  hie  testes  habere  sat 
erit.  Salustius,  quiquidem  primo  etiam  verbo  est 
usus,  sic  ait  in  Catilinario  bello : '  Omneis  homi- 
nes qui  sese, etc'  Vergilius  in  primo  Eneidos: 
'Hie  fessas  non  vincula  naveisUllatenent.  . . ' 
Plaut.in  Aulularia:  'Quid  est.?  quid  ridetisnovi 
omneis,  scio  fures  hie  esse  complureis. '  Hoc  lu- 
bens  annotare  volui,  ut  (bone  lector)  non  tan- 
tum  dicendi  puritatem  intellegas,  sed  et  tanquam 
digitos  inter  et  legendum  et  dicendum  pura  verba 
festiviter  in  promptu  habeas  et  dicas.  Vale. 
CIVIS. 


clarum  et  musarum  alumnum,  de  vobis  bene 
meritum,  non  ignoratis;  docuit  enim  vos 
Musas,  Heliconem,  Phoebi  nemus,  Mcr- 
curiumque  ;  et  enim  innumeri  (tanquam  ex 
e  quo  Troiano)  ex  officina  eius  prodierc  lit- 
terati.  Curae  sunt  ei  gloriosissim  Musarum 
labores,  cuius  nomen  in  honoribus  et  laurea 
immortale  servandum  censeo  maxime.  Ipse 
non  solum  quod  dicitur  ad  Aristophanis,  sed 
etiam  ad  Cleantis,  lucernam  lucubrasse  fertur. 
Elegantia  carminis  laudatum  haud  dubitatis, 
ex  quo  fit  ut  poema  religiosum  quod  con- 
scripsit  de  Passione  Dominica  extet,  tantoque 
splendore  refulgeat,  tanta  suavitate  redoleat, 
tamque  florido  ornatu  spectabile  sit,  ut  coeles- 
tis  ingenii  artificio  potius  quam  humani  fab- 
refactum  credatur.  Nec  dubito  quin  ex  eo 
contingat  quod  plurimum  litteratis  viris  con- 
tingere  consuevit:  ut  ait  Claudianus,  minuet 
praesentia  '  famam.  Non  tamen  sine  Theseo, 
hoc  est  Torino  Biturico,  commilitone  nostro, 
antiquis  moribus,  et,  ut  Plautus  ait,  Massili- 
ensibus  ^,  et  cum  virtute  doctissimo,  voluimus 
ut  Dives  in  publicum  volaret:  speroque  ite- 
rum  secundis  (ut  aiunt)  avibus.  Valete  foeli- 
cissime.  Ex  asdibus  nostris  Amandinis,  calen- 
dis  martii. 


M 

Godofredi  Torini  Biturici  in  preceptoris  sui 
Guilielmi  Divitis  Gandavensis  commenda- 
tionem  dialogus. 

Interlocutores:  Monitor  et  Liber. 

M.  Sancte  liber,  passum  qui  defies  carmine 
Christum, 
Fare  age  :  cuius  opus  tarn  potes  esse 


pium? 

Cuius  opus }  videas.  Sum  Divitis. 

Illius  euge 
Ditia  qui  Bituris  tot  documenta  dedit .? 
Veraputas. 

Vere  est  sapienti  pectore  Dives. 
Aptius  hoc  nullum  nomen  habere  potest. 
Ipse  est  qui  Bituris  florenti  dicere  lingua 
Edocuit,  faciles  pangere  et  ore  modos. 
Dicere  non  tantum  docuit,  nec  texere  car- 


Herverus  de  Berna  Amandinm  luventuti 

Bituricde  S.  D. 
Divitem,  didascalum  nostrum,  sapientia 


Corpora  sed  Christi  caesa  videre  dedit. 
M .  Brachia  fixa  Dei  si  quisquam  cernere  vellet. 
An  satis  ad  vivum  Dives  et  ipse  darer?  3 


1.  Claud.,  XV,  385  :  '  Minuit praesentia  famam.' 

2.  Plavitus,  Casine,  act.  V,  sc.  iv,  v.  i  :  Ubi  tu  es,  qui  colere  mores  Massilienseis  postulas. 

3.  Should  we  not  say  dartt,  or,  rather,  dares  ? 


APPENDICES 


L.  Ferre  crucem  Domini,  si  vulnera  sjeva,  co- 
ronam, 

Discupis,  in  manibus  me  gere,  cuncta 
feres. 

M.  Omnia  vota  ferat  semper  foelicia  Dives, 
Tale  piis  qui  dat  cordibus  esse  bonum ! 

L.  Nestoreos  terris  perstet  victurus  in  annos, 
Postque  obitum  coeli  ditia  regna  petat. 

CIVIS. 
N 

Philibertum  Baboum,  virum  honestissimum, 
Godofredus  Torinus  Bituricus  salutem  plu- 
rima  iubet  impartitum. 

Anno  praeterito,  quo  tempore  Pii  Pontiiicis 
Maximi  Cosmographiam  imprimendam  cu- 
ravi,  Berosum  Babilonicum  in  antiquitatibus 
regnorum  bellissime  recognoscere  et  impres- 
soribus  non  immutare  dare  venerat  in  mentem; 
at,  nescio  quo  animo  meo  se  tunc  agente,  in 
aliud  tempus,  opera  dedita,  rem  propemodum 
divinam  facturus,  difFerre  decrevi,  distulissem 
quidem  et  in  longissimum,  atque,  ut  proverbio 
memoratur,  ad  calendas  grascas,  nisi,  ut  ita 
dicam,  Berosus  ipse,  et  quod  non  parvi  apud  me 
est,  eritque  semper,  amicorum  plusculi,  quo- 
tidie  ad  aurem  meam  cum  precibus  quodam 
modo  simul  innuentes,  Myrsilum,  de  origine 
Turrenorum,  Catonem,  in  fragmentis,  Archi- 
locum,  Methastenem,  Philonem,  Xenophon- 
tem,  de  aequivocis,  Sempronium,  Fabium  Pic- 
torem,  et  Antoninum  Pium,  in  fragmento 
itinerarii,  coimprimendos  efflagitanter  deside- 
rassent.  Avarissimum  est  genus  hominum, 
quod  si  librum  (librum  dico  inventu  rarum) 
trium  aut  quatuor  versiculorum  habeat  (more 
formicarum  Indiae,  necnon  griforum,  qui  au- 
rum  penitus  egestum  cum  summa  pernicie  at- 
tingentium  custodire  feruntur),  continuo  ab- 
stractum  servat,  cathenis  et  compedibus  capti- 
vum  et  misellum  prorsus  incarcerat.  Tale 
genus  potius  cum  huiusmodi  et  formicis  et 
grifis,  quod  et  alii  grifibus  declinant,  curiosam 
et  avaram  illam  singularis  alicuius  sibi  habendi 
cupiditatem  exercere,  quam  cum  hominibus 
inhumanitatem,  quod  et  melius  forte  dixerim 
immunitatem,  habere  deberet.  Non  solum  no- 
bis nati  sumus,  debemur  et  amicis,  debemur  et 
patriae.  Igitur  ne  ardentis  lucernas  clarissimum 
lumen  opprimere  velle  videar,  sub  nomine  tuo, 
Philiberte,  civium  Bituricorum  ornatissime, 
gratiusculum  reipublicje  factum  opinor  daturus 
Berosianam  antiquitatem  cum  aliis  authoribus 


nominatim  prsescriptis  in  apertum,  et  stadium 
omnibus  commune  iam  libentius  emitto.  Vale. 

Parrhisiis,  apud  collegium  Plesseiacum,  6 
nonas  maias  1 5 1  o. 

CIVIS. 
O 

Godofredus  Torinus  Bituricus  ornatissimos 
Philibertum  Baboum  et  loannem  Ale- 
manum  luniorem,  cives  Bituricos,  pari 
inter  se  amicitia  conjunctissimos,  salutat. 
Debentur  vobis,  viri  singulari  virtute  plenis- 
simi,  omnes  quos  et  noctu  et  interdiu  assumere 
possum  (etiam  de  industria)  labores.  Ecce. 
Quia  moribus  antiquis,  id  est  honestis  et  vere 
bonis,  haud  mediocriter  utimini  et  gaudetis, 
Probum  Valerium  scripturarum  antiquarum  et 
abbreviationum  quae  innumismatis,  sepulchris 
et  tabellis  antiquitus  perbelle  consignabantur, 
diligentissimum  coacervatorem  certissimum- 
que  explanatorem ,  sub  vestro  mihi  semper 
amando  nomine,  lubens  ut  vel  tantillum  reipub- 
licae  valeam  prodesse,  caracteribus  etimpressi- 
oni,  cum  nostra  utinam  tam  felici  quam  diligenti 
recognitiuncula,  trado.  Sinite,  qujeso,  autho- 
rem  perquam  singularem  primum  in  vestras 
omnem  ad  virtutem  aptissimas,  deinde  studi- 
osorum  omnium  aliorum  manus,  commode 
iam  et  festiviter  exire.  Valete. 

Parrhisiis,  apud  collegium  Plesseiacum,  6 
idus  maias  1 5 1  o. 

CIVIS. 

p 

Godofredus  Torinus  Bituricus  lectori  salutem. 

A  quo  tempore  Probum  Valerium  impri- 
mere  bonis,  ut  reor,  avibus  inccepi,  ne  liber 
unius  aut  duorum  codicum  enchiridio  minus 
aptus  exiret,  pluscula  scitu  non  indigna  coim- 
primere  venit  in  mentem.  Tractatum  de  pon- 
deribus  et  mensuris,  ex  Prisciano;  item,  quem- 
admodum  datae  formse  agrorum  metiri  de- 
beant,  ex  Columella  ;  similiter  figuras  quje  sub 
dimensionem  cadant,  ex  Georgio  Valla ;  dialo- 
gos  etiam  aliquot  cum  aenigmatis,  ex  diversis 
authoribus  diligenter  pro  tempore  collectis, 
superaddimus.  -iEnigmata  consulto  reliquimus 
inenarrata,  ut  tibi  legenti  (quod  ait  Gel.  in 
12  libro,  cap.  6)  coniecturas  in  requirendo 
acueres.  Da,  precor  (bone  lector),  operam, 
ne  tibi,  quod  etiam  senigmatice  Plautus  in 
Milite  ait:  Glaucoma  ob  oculos  obiecerim. 
Vale. 


3i6 


GEOFROY  TORY 


Dialogus  perGodofredum  Torinum,  inquourbs 
Biturica,  sub  loquente  persona,  describitur. 

Inter locutor es :  Monitor  et  Urbs. 

MON.  Urbs,  tibi  quod  nomen? 
BIT.  Biturix. 

MON.  Tu  die  age  quodnam 

Hasc  sibi  quae  video  tecta  superba  volunt? 
BIT.     Templa,  domos,  turres,  divina  palatia 
spectas. 

MON.  Hercle !  suis  coelos  molibus  exuperant. 

Hxc  quae  templa,  precor? 
BIT.  Stephani  protomartiris,  ipsa 

Quae  Triviae  excedunt  marmora  celsa 
deae. 

MON.     Quae  domus  ilia  rubris  excellens  cor- 
dibus  una, 
Memnonis  anne  ipsa  est  asdificata 
manu? 

BIT.  Hanc  lacobus  homo  Cordatus  condidit 
olim. 

Dives  opum;  nobis  quern  abstulit 
invidia. 

MON.  Arcibus  haec  Phariis  quae  maiorcernitur, 
heus  tu ! 

Qua;  turris?  miror  cum  satis  aspicio. 
BIT.  Celtarum  populos  regeret  cum  maximus 
ille 

Ambigatus,  quondam  condita  tanta 
fuit. 

MON.  Die,  ea,  die,  palatia  sunt  Capitolia nun- 
quid 

Aurea.^  Responde,  quid  retices,  Bitu- 
rix? 

Non  loqueris  faeili  quae'  iam  sermone 
loquuta  es. 
Hie  mihi  vis  fieri  quod  fuit  Harpo- 
crates  'i 

BIT.    Non,  ea  sed  tanta  (videas)  sunt  arte  pro- 
banda, 

Talia  quod  totus  non  tulit  orbis  ad- 
huc. 

MON.  Terra  quid  haec  tanto  quae  se  distendit 
hiatu  ? 

BIT.    Est  ubi  turris  erat  constituenda  mihi. 
MON.  Altera  nonne  tibi  quanta  est  haee  ? 
BIT.  Altera  tanta. 

Turribus  a  binis  inde  vocor  Biturix. 
MON.  Nomine  quo  fertur  nostro  hoc  sub  tem- 
pore ? 

BIT.  Fossam 
Vulgus  arenarum  dictitat  et  vocitat. 


MON. 

BIT. 

MON. 


BIT. 

MON. 

BIT. 


MON. 
BIT. 


MON. 
BIT. 


MON. 
BIT. 


Quis  tibi,  quis  fluvius  memorandus? 

Avaricum. 
An  ille  est 

Quern  memorat  Caesar  Gallica  bella 
notans  ? 

Ille  est. 

Sunt  alii  ? 

Duo  sunt :  sunt  Ultrio  et  ipsa 
Innumeris  pregnans  Hebrya  pisci- 
culis. 
Quae  tibi  sunt  dotes? 

Omnis  veneranda  facultas 
Est  mihi  quae  nummos  cudit  et  aula 
novos. 
Nil  aliud  quicquam  est  ? 

Aquitania  primam 
Me  vocat,  et  leges  accipit  ipsa  meas. 
Numina  quze  tecum  ? 

Sunt  juno,  Jupiter  et  Pan, 
Vesta,  Diana,  Ceres,  Liber  ct  ipse 
pater. 


R 

Godofredus  Torinus  Bituricus  Philiherto  Ba- 
boo et  loanni  Alemano  luniori,  viris  orna- 
tissimis,  S.  P.  D. 

Maiores  nostros  sua  probitate  contentos  mo- 
dum  suum  sedificandi  parva  cum  arte  et  elegan- 
tia  quondam  exereuisse  (viri  singulari  virtute 
cumulatissimi )  nemo  est  qui  nesciat.  Contenit 
siquidem  ipsa  mediocritate,  domosethabitaeula 
magno  sine  luxu  et  splendore  construebant  et 
inhabitabant.  Eo  tandem  est  perventum,  ut  in- 
geniis  pluseulum  iam  expergefaetis  fiant  et  ad- 
struanturaedificia passim  non  incelebria.  Nempe 
abillotemporequo  magnanimus  ille  Rex,  totius 
Italis  terror,  CarolusOctavus,  non  sine  magna 
gloria  victor  Neapoli  rediit,  ars  ipsa  aedificandi 
sane  quamvenusta,  Dorica  et  loniea,  item  Ital- 
ica,  totam  hie  apud  Galliam  exerceri  coepit  bel- 
lissime.  Ambasiae,  Gallioni,  Turoniae,  Blesis, 
Parrhisiis  et  aliis  centum  nobilibus  locis,  pub- 
lice  et  private  eonspicua  iam  aedificia  cernere 
licet antiqualia.  Licet,  inquam,  adeo  nitidaetad 
unguemexculptadispieere  multa,  ut  non  modo 
Italos,  imo  Dores  et  lones,  Italorum  magis- 
tros,  ipsi  Galli  vineere  videantur  et  iudieentur 
manifestissime.  Rebus  huiusmodi  et  ingeniis 
tam  excellenter  florentibus  optimum  esse  duxi 
rem  admodum  utilem  non  ingratus  obferre, 
diligensque  superaddere,  Leo  Baptista  Alber- 
tus,  author  in  architectura  et  familiaris  et  lucu- 
lentus,  apud  me  quasi  sopitus  delitescebat.  Vi- 


I.  Read  juo.  At  the  best  this  verse  is  halting. 


APPENDICES 


317 


susestdignissimusqui  tempestive  iam  proclaris 
et  melioribus  ingeniis  oblectandiset  adiuvandis 
in  Gallia  daretur  impressioni.  Dignissimus,  in- 
quam,  visus  est  mihi,  et  eo  maxime,  quod  ei  11- 
bri  ipsi  decern,  quibus  totum  opus  constat,  per 
capita  sunt  distincti.  Ipsa  capita  vir  bonis  Uteris 
eruditus  Robertus  Durasus  Fortunatus,  meus 
apud  suum  collegium  Plesseiacum  Parrhisiis 
quatuor  annos  quibus  docebam  olim  primarius, 
accurate  etdiligenterdigessit,  mihi  exscribenda 
non  gravate  dono  dedit.  Exscripsi  opusque  to- 
tum, insuper  elimavi,  mendisquamplurimisde- 
fecavi,  succum  textus  in  margine  transcripsi, 
chalcographo  imprimendum  dedi.  Sinite,  oro, 
viri  Biturigum  celeberrimi,  opus  egregium  in 
bonorum  omnium  ingeniorum  et  studiosorum 
manus  sub  nomine  vestro  mihi  semper  exco- 
lendo  fceliciter  exire  haberi,  legi. 

Valete  patriae  columina  et  ornamenta  spe- 
ciosissima. 

Parrhisiis,  e  regione  collegii  Coqueretici, 
XVkal.  septembris  M.D.  xij. 

CIVIS. 

Leonis  Baptistje  Alberti  Florentini,  viri 
clarissimi,  de  re  Eedificatoria  opus  elegantissi- 
mum  et  quammaxime  utile,  accuratissime  Pa- 
risius  in  Sole  Aureo  vici  Dlvl  Jacobi  impraes- 
sum,  opera  magistri  Bertholdi  Rembolt  et 
Ludovici  Hornken,  in  eodem  vico  ad  intersig- 
nium  Trium  Coronarum,  e  regione  Divi  Ben- 
edict! commoran.  Anno  Domini  M.D. XII, 
die  vero  xxiii  Augusti . 

S 

Godofredus  Torinus  Bituricus  Philiberto  Ba- 
boo, viro  modestissimo,  S.  P.  D. 
Itinerarium  multis  iam  annis,  virornatis- 
sime,  situ  propemodum  obsitum,  quum  ab 
amico  mlchi  semper  excolendo  Christophoro 
Longuolio,  viro  sine  controversia  studiorum 
omnium  bonorum  excellentissimo,  iam  ab 
hinc  quatuor  annos  commodo  primum  exscri- 
bendum  accepissem,  unum  tibi  manu  mea 
scriptum,  forma  quldem  non  usque  quaque  in- 
eptum,  ad  te  ex  Parrhisiis  in  Turoniam  mit- 
tere  venerat  in  mentem.  Viro  cuius  etiam  no- 
mini  lubens  parco  ad  te  dederam  portandum; 
verum  ipse  alii  nescio  cui,  te,  me,  et  sua  fide 
posthabitis,  sads  impudenter  dono  dedit.  La- 
bore  meo  sic  ego  frustratus,  alterum  tibi  con- 
scribere  maturabam,  nisi  ipse  Longuolius,  qui 
exemplar  iam  olim  ex  Morinis  adportaverat, 
et  michi,  ut  dixi,  commodo  dederat,  nuper  ex 
Pictavis  Parrhisios  adveniens,  monuisset  im- 


primendum curarem.  Curavi  equidem,  no- 
minibus  opidorum  seiunctim  et  seriatim  coor- 
dinatls,  addltls  etlam  suo  loco  plusculis  allter  in 
altero  exemplarl  scrlptis.  Feci  et  indicem,  quo 
facllllme  quodcumque  opldi  et  loci  nomen  in 
toto  opere  disquiri  possit.  Mlrabltur  fortassls 
aliquis  ipslus  operis  sdlum,  Interdum  etiam 
nonnullls  in  locls  latlnltatem.  Stilum  ipsum 
satis  laudablt  studiosus ;  latlnitatem  vero  an- 
tiquae  llli  astatl  lector  non  malivolus  condo- 
nabit.  Multa  subemendassem  Ptholomeo, 
Strabone,  Dionysio,  Mela,  Plinio,  Solino  et 
authoribus  allis  aliquot  non  omnino  asper- 
nandis  usus,  sed  et  author!  augusto  reverentiam, 
et  exemplarl  admodum  vetusto  synceritatem 
observans,  nichll  immutare  volui,  Longuolil 
mei  in  aliud  tempus  studia  vigilandssima,  vel 
alicujus  Hermolai  limam  exacdssimam  ex- 
pectans.  Unum  est  quod  hie  tangere  non  ve- 
rebor,  authoris  nomen  in  exemplari  fulsse  meo 
judicio  imperfectum  (nam  et  Antoninus  Au- 
gustus inscribitur) .  Ab  Hermolao,  viro  alio- 
qui  nitido,  Antoninus  multis  inlocis  apud  suas 
in  Plinium  castigationes  allegatur.  Viderint  qui 
legent.  In  textu  exemplar  ipsum  secutus  sum. 
In  inscriptione  libri  Hermolaum  sum  imitatus. 
Laborem  meum  quantulumcumque  tibi  (ut  de- 
beo),  animo  nequaquam  ingrato,  nuncupatim 
dico.  Suscipe,  oro,  qua  fronte  et  optima  quae- 
que  soles,  et  permitte  studiosissimorum  quem- 
que  per  insignes  mille  urbes,  te  duce,  cum  hoc 
itinerariovenire.  Vale, studiorum  meorum  suc- 
coUator  humanissime. 

Parrhisiis,  e  regione  collegii  Coqueretici, 
1 4  calendas  septembris  i  5 1 2. 

CIVIS. 
T 

Torinus  lectori  salutem. 
Quo  melius  hoc  Idnerario,  iucunde  lector, 
possis  uti,  admonendus  es  quascumque  virgula 
miniacea  notata  deprehendes  ea  plura  fuisse 
apud  vetus  exemplar  quam  in  altero  recenti; 
quas  autem  in  ipso  recend  diversa  legebantur 
minutula  litera  et  ipsa  quidem  rubra  suis  locis 
sunt  super  impressa.  Quandocumque  hujus 
modi  signum  a  interlegendum  occurret,  dicno 
vel  numerus  eodem  signo  supra  vel  juxta  nota- 
tus  esse  debet.  Illud  etiam  in  textu  multis  in 
locis  hoc  modo  scriptum  mpm.  significat  milia 
plus  minus.  Scriptum  est  autem  sic  ne  tam  fre- 
quens  et  longula  reperido  lectorem  tedio  affice- 
ret.  In  indice  nonnumquam  b.  literam  solam, 
post  vel  inter  chartarum  numeros,  invenies :  ea 


GEOFROY  TORY 


significat  dictionem  ipsam  bis  ad  minimum 
eadem  in  charta  posse  inveniri.  Vide  ergo,  et 
gratus  attende,  quod  si  quos  hanc  nostram  dili- 
gentiam  non  amare  videas,  Persianum  illis  hoc 
apud  te  dicas:  '  Virtutem  ut  videant,  intabes- 
cantquerelicta.'  Hoc  ideoscriboquoniam inter 
imprimendum  quidam  nichil  tale  intelligentes 
de  more  damnabant. 
Vale  et  vive  diu  foelix. 

CIVIS. 

u 

Gerardi  Fersellani  Burgundi  carmen  hende- 
casyllabon  in  malos  impressores. 
Ergo  hinc  ergo  procul  manus  profana 
Vulgi  chalcographon  inauspicati, 
Impurasque  opera  procul  facessant, 
Ne  interdicto  aditu  improbaque  fronte 
Res  spurcetur  et  inquinetur  alma. 
Ne  quis  nesciat:  hoc  sacrum  est  volumen. 

Heu  chalcographi  mali  et  miselli, 
Nullas  ne  scholicas  quidem  aut  aniles 
Nugellas  dare  formulis  periti. 
Quid  sanctas  male  taminatis  artes, 
Incestaque  manu  novem  Sororum 
Funestatis  opes  laboriosas? 

Quid  non  promitis  ita  ab  officina 
Illuc  projicier  fodique  dignum 
Quo  ventris  retrimenta  deferuntur? 

Ergo  hinc  ergo  procul  profani  abite, 
Vos,  o  chalcographi  mali  et  miselli! 
Sit  dictum  satis:  hoc  sacrum  est  volumen 
Quod  noster  Godofredus,  ille  noster, 
Ille,  inquam,  Biturix,  Pii  misertus, 
Lethaea  carie  eruit  sepultum, 
Ductu  Longuolii  sui  atque  ope  usus. 

V 

Torinus  lectori  felicitatem. 
Hasce  plusculas  recognitiones,  lector  op- 
time,  oro  non  admirare.  Sic  eas  ab  exemplari 
vetere  diversas  collegi,  ut  tibi  non  pigra  manu 
librum  emendare  possis.  Errores  chalcographis 
imponerem;  sed  ars  ipsa  prelaria  suopte  more 
hoc  in  se  habet,  ut  ne  libellus  quidem  sine  ali- 
qua  menda  prorsus  imprimi  possit.  Vale. 

Ad  studiosum  Epigramma  per  Torinum. 
Oppida  si  centum,  centum  si  sedulus  urbes 
Certo  cum  spacio,  lector,  adire  paras, 

I .  The  book  has  htabili.  It  was  impossible  to  | 


Centena  portus  si  cum  statione  marinos 
Excupis,  et  recta  doctior  ire  via, 

Hunc  tibi  comprimis  habilem  studiose  libellum 
In  dextra  gratus  semper  habeto  manu. 

W 

Torinus  ad  Librum. 
I,  Liber,  ad  vatum  penetralia  sacra  piorum; 

Es  facilis,  tersus,  candidus,  atque  probus. 
Exornatus  habes  nardosque,  rosasque,  crocos- 
que. 

Cum  Phoebo  et  latias  numina  grata  Deas. 
Ne  vereare  Deos  tecum  vectare  faventes, 
Spirantem  lauros  te  super  astra  ferent. 

Agnes  Torina,  virguncularum  modestissima 
suavissimaque,  de  tumulo  viatorem  allo- 
quitur. 

Qui  levibus  transis  pedibus,  dilecte  viator, 

Siste  parum  ;  ecce,  tibi  dicere  pauca  libet. 
Vive  memor  leti,  viciis  abstersus,  et  illam 

Spem  tibi  vivendi,  si  sapis,  abjicito. 
Ore  nites  hodie  pulchro,  sed  stamine  secto 

Protinus  in  nihilum  te  impia  Parca  rapit. 
Hoc  experta  scio,  quoniam  virguncula  nuper 

Annos  nata  decem  rapta  repente  fui. 
Ut  rosa  florebam  sociis  virtutibus  illis 

Qu£  cerni  in  tenera  virginitate  solent. 
Sed  tamen  interii  crudelibus  obruta  fatis, 

lam  data  carnivoris  vermibus  esca  meis. 
Vermibus  esca  meis  iaceo  data, non  tamen  usque 

Usque  adeo  exanguis  quin  tibi  vera  loquar. 
Ore  loquor  latio,  nec  mirum,  candide  amice, 

Filia  nam  vatis  sum  memoranda  pii. 
Imbutam  ausonia  cupiens  me  reddere  lingua 

Artibus  et  pariter  me  decorare  bonis, 
Nocte  dieque  docens,  pater  ut  charissimus,  ipse 

Fundamenta  mihi  dulcia  et  ampla  dabat. 
Docta  forem  celebres  nimirum  amplexa  ca- 
maenas, 

Et  canerem  blandis  carmina  pulchra  modis. 
Oscula  chara  mihi  genitor  meus  inde  dedisset, 

Imponens  capiti  laurea  serta  meo. 
O  miseras  hominum  sortes!  O  vota  caduca! 

In  terris  nihil  est  quod  solidum  esse  queat. 
Non  solum  miseris  mortalibus  obvia  mors  est, 

Sed  tacito  insidians  clam  subit  ilia  pede. 
Ah !  caveas  igitur,  cave^  moriture,  profecto 

Omnia  sub  modico  tempore  lapsa  ruunt. 
Tu  dum  vivis  adhuc,  magnos  dum  quaeris 
honores, 

Instabili '  et  rapide  pergis  obire  gradu. 
Si  contentus  abis  hoc  uno  denique  certo 

Consilio,  et  tu  me  dicere  vera  putas, 
lace  the  sign  of  abbreviation  over  the  capital  I. 


APPENDICES 


319 


Sparge  mihi  flores,  violas  et  lilia,  nardos; 

Funde  preces  edam,  si  placet,  et  laclirymas. 
Me  f'acies  superum  precibus  conscendere  ad 
axem. 

Lux  ubi  perpetua  est,  pax  et  amoena  quies. 
Hoc  erat  exiguam  quod  ego  te  scire  volebam, 
Vive  memor  leti,  mox  periture.  Vale. 

Obiit  ubi  erat  nata,  Parisiis,  xxv  au- 
gusti,  anno  Do  [mini]  M.D.XXII. 

Vixit  annos  novem,  menses  undecim,  dies 
fere  triginta.  Horas  scit  nemo.  Momenta  solus 
novit  Deus. 

Pater  et  Filia  collocutores. 

p.  Vermibus  esca  iaces,  charissima  filia !  tu  me 
Linquis  in  assiduis  fletibus  et  lachrymis. 
F.  Chare  pater!  lachrymis  parcas  et  fletibus, 
actum 

Est  de  me.  luvenes  mors  rapit  atque 
senes. 

p.  Parcere  non  possum  diris  nec  planctibus. 
Eia! 

Debueram  in  mortem  iustius  ire  prior. 
F.  Sic  fore  non  placuitfatiscoelestibus.  Ad  me, 

Crede  mihi,  certo  fanere  tu  venies. 
p.  Interea  manibus  violas  et  lilia  plenis 

Ad  tua  demissa  fronte  sepulchra  feram. 
F.  Adde  preces,  precibus  supera  ad  convexa 
volabo: 

Astra  pice  faciunt  scandere  celsa  preces. 
p.  Est  ut  ais,  tu  gnata  etiam  pro  patre  precare. 

Scilicet  ut  tecum  sidera  laeta  petat. 
F.  Sidera  laeta  petes  curis  exemptus  amaris. 

Omnibus  et  mentis  sordibus  expositis. 
p.  Vera  mones,etsic  faciam.  Deus  optimusad 
se 

Te  vocet  in  ccelum.  Filia  chara,  vale. 

p.  Eia,  mea  dulcis  anima,  defuncta  es. 
F.  Euge,  pater.  Nemo  immortalis. 

Distkha  duodecim  urna  faciebus  separatim  in- 
scribenda. 

In  prima  facie. 

Vis  flores !  violas !  Vis  lilia !  serta !  cyperos ! 
Haec  tibi,  sume  libens,  fictilis  urna  dabit. 

In  secunda. 

Hac  Agnes  defuncta  iacet  virguncula  in  urna. 
In  cuius  medio  spirat  amcenus  odos. 


In  III. 

Hie  locus,  hie  et  Amor,  Ludus,  Virtus  quo- 
que,  et  ipsae 
Cum  Musis  Charites  suntque  sedentque 
Deae. 

In  IIII. 

Hac  amaracus  inest  urna,redolensque  cyperus, 
Insunt  et  viola:,  lilia,  serta,  rosae. 

In  V. 

Non  iacet  hie  Agnes  virguncula  sola,  sed  ipsae 
Cum  Phoebo  Clarias  suntque  sedentque 
Dex. 

In  VI. 

Bracteolas  gemmis  iunctas  viridesque  lapillos 
Haec  cum  perpetuis  floribus  urna  fovet. 

In  VII. 

Visetamas  urnam  Agnetiscognoscere?  Cerne, 
Laurus  ubi  excellens  alta  sub  astra  viret. 

In  VIII. 

Hie  defuncta  iacet  virgo  memorabilis  Agnes, 
Quas  faciles  tenero  iam  dabat  ore  modos. 

In  IX. 

Annos  nata  decem  iacet  hie  virguncula  vates, 
Carminis  ingenui  et  virginitatis  honor. 

In  X. 

Si  petis  Agnetis  cineres  cognoscere  certos. 
Hie  sunt,  ne  dubita  credere,  certus  habes. 

In  XI. 

Vis  Phoebum  et  Musas  modulis  cum  dulcibus 
ipsas? 

Hanc  subeas  urnam,  protinus  invenies. 
In  XII. 

Succrescens  vates,  teneris  defuncta  sub  annis. 
Hie  cum  laurigera  virginitate  iacet. 

MONITOR  et  AGNES  collocutores. 
M.  Die  mihi  pauca,  precor,  vates  virguncula? 
A.  Dicam. 

Dummodo  pauca  roges. 
M.  Pauca  rogabo. 

A.  Roga. 
M.  Quae  tibi  defunctae  mens? 
A.  Aurea. 
M.  Quid  tibi  corpus? 


320 


GEOFROY  TORY 


Pulvereum. 

Quisnam  spiritus? 


A. 

M.  _ 

A.  iEthereus. 
M.  Sufficit,  alma  quies  tibi  sit  cum  pace  pe- 
rennis. 

A.      Et  tibi  viventi  dulcis  et  ampla  salus. 

Disticha  de  lauro  prope  tumulum  et  urnam 
Agnetis  in  tabellis  scriptis  pendentia. 
In  prima  tabella. 
Hie  iacet  eximiae  vates  virtutis  imago. 
Naturae  specimen  nobile  et  egregium. 

In  secunda. 
Hie  confracta  iacent  pharetris  languentibus 
arm  a. 

Quae  quondam  ingenuus  ferresolebat  Amor. 
In  III. 

Unio,  chrystallus,  magnes,  viridisque  smarag- 
dus. 

Hie  cum  virginea  vate  iacente  nitent. 

In  mi. 

Hie  ver  perpetuum  vario  cum  flore  virescet, 
Dum  carpenta  micans  aurea  Phoebus  aget. 

In  V. 

Hie  Decor  etLudus,  Risusque,  locusque,  qui- 
eseunt. 

Hie  cum  laurigera  est  virgine  inermis  Amor. 
In  VI. 

Hac  conclusus  inest  media  thesaurus  in  urna; 
Ne  tangas,  gemmae  sunt  simul  innumerae. 

In  VII. 

Dum  radiis  Phoebus  coelestia  templa  replebit, 
Hie  violae  et  flores,  hie  et  anetus  erunt. 

In  VIII. 

Hie  Amor,  et  Ludus,  Risusque,  locusque,  Le- 
posque. 

Hie  Musae  et  Charites,  hie  et  Apollo  sedent. 
In  IX. 

Hie  cum  mellifluis  habitat  virguncula  Musis, 
Acceptura  deeus  perpetuumque  melos. 

In  X. 

Sponte  sua  tellus  amaraeina  secta  reflindens 
Hie  viret,  et  verno  rore  benigna  madet. 


In  XI. 

Hie  violae,  hie  flores,  hie  lilia,  serta,  coronae, 
Sponte  sua increscunt,  sponte  suaquc  virent. 

In  XII. 

Hie  sua  signa  manu  Genius  difringit  aeerba. 
Naturae  specimen  dum  periisse  videt. 

Monitor  et  Virginitas  collocutores. 

M.  Heus  tu  quae  roseo  es  virgo  spectabilis  ore. 
Quid  facis  hie  laehrymans  anxia  tota.'' 

Gemo. 

Quae  causa  est  gemitus  ? 

Agnes  virguncula,  cuius 
Hac  prope  me  eineres  fictilis  urna  tenet. 
Unde  meis  tam  suavis  odos  est  naribus? 

Urna 

De  media,  Charites  quem  posuere  Deae. 

Quid  posuere? 

Rosas  et  einnama,  balsama,  nardos, 
Flores  et  violas,  lilia,  serta,  crocos. 
An  amaraeus  inest  etiam  cum  staete  cy- 
perus? 

Omnis  inest  redolens  herba  et  amaenus 
odor. 

Urna  gerit  viridem  pulchre  insignita  coro- 
nam  ? 

Ut  decet  et  par  est,  laurea  serta  gerit. 
Quae  ratio.'' 

Musas  in  se  comprendit  ovantes. 
Quae  tenerae  cantantvirginisexequias. 
An  solffi  reeinunt  ? 

SolcC  non.  Phoebus  Apollo 
In  medio  modulans  mystica  sacra  fovet. 
Quid  tibi  vis  igitur,  virgo  suavissima,  tanto 
Cum  gemitu,  et  superi  te  prope  dulee 
canunt  ? 

V.    Vera  tibi  dieam,  nequeo  non  flere  libenter, 
Tam  fuit  egregio  nobilis  ingenio. 
Annos  nata  decern,  patris  praeeepta  secuta, 
lam  faeilis  vates  carmen  ab  ore  dabat. 

M.  Tu  mihi  naturae  miracula  grandia  narras! 

V.       Hisee  nihil  terris  verias  esse  potest, 

M.  Qui  sunt  quos  video  stantes? 

v.  Ludus,  locus,  inde 

Gestus,  Honor,   Virtus  et  genialis 
Amor. 

M.  Arma  iacent  urnam  eireum  quamplurima 
fracta? 

V.       Ipsi  gestabant  integriora  Dei. 

M.  Quid  facient  fractis  olim  sic  omnibus  illis.'' 

V.       Cum  planetu  et   laehrymis  assiduos 

gemitus. 
M.  Tune  etiam  flebis? 


V. 

M. 

V. 
M. 
V. 

M. 
V. 

M. 


APPENDICES 


321 


V.  Flebo  moestissima  semper. 

M.      Nomen  habes? 

V.  Habeo. 

M.  Quid  tibi? 

V.  Virginitas. 

M.  Chara,  vale. 

V.         Valeas,  Monitor  charissime,  et  huius 
Egregiae  quondam  virginis  esto  memor. 

Monitor  et  Agnes  collocutores. 
M.  Parvaiacens  vatescelebri  dignissima  laude, 
Sum  potis  hie  tecum  dicere  pauca.'' 

Potis. 

Hanc  tibi  quis  struxit  gemmis  insignibus 
urnam  t 

Quis  ?  Meus  in  tali  nobilis  arte  pater. 
Excellens  certe  est  figulus  genitor  tuus. 

Artes 

Quottidie  tractat  sedulus  ingenuas. 
Anne  etiam  scribit  modules  et  carmina? 

Scribit. 

Dulcibus  et  verbis  haec  mea  fata  beat. 
Ipsius  est  nimirum  hominis  solertia  mira.^ 
Tam  celebremregio  vix  tulitulla  virum. 
O  tali  virgo  felix  genitore ! 

Profecto . 

Ipse  etiam  nomen  tollit  inastrameum. 
Audio  concentus. 

Claris  modulamina  Musas 
Cum  Phoebo  hie  mecum  nocte  dieque 
canunt. 
Te  prope  conspicio  Charites.? 

Mihi  serta  ministrant. 
Unde  legunt  violas.? 

Collibus  Elysiis. 

Sunt  alii  tecum? 

Sunt  et  tria  numina, 

Quasnam.'' 

Ludus,  Amor,  Monitor candide,  etinde 
locus. 
Quid  faciunt.'' 

Holocausta  mihi  divina  reponunt, 
Et  solitos  implent  fomite  et  igne  focos . 
Es  Dea  de  superis  iamdudum  sedibus  una? 

De  superis  fio  sedibus  una  Dea. 
Si  Dea,  cur  charos  in  coelica  regna  par- 
entes 

Scandere  non  curas? 

Scandet  uterque  parens. 

Sed  quando? 

Quando  certe  sua  fata  videbunt 
Esse  opus .  Ex  fatis  Stat  sua  cuique  dies . 
Stat  sua  cuique  dies  ergo  certissima? 

Cuique 

Eveniunt  certo  fata  suprema  die. 


M.  Jntcrea  genitor  tuus  et  tua  mater  in  hisce 

Quid  facient  terris? 
A.  Quid?  Pia,  sacra,  prcces. 

M.  Postea  quid  fict? 

A.  Coelestia  templa  beati, 

.iEthereoetsuperopatre  favente,  petent. 

M.  In  mea  iam  redeo  tractanda  negocia. 

A.  Quando 
Nempe  voles  ;  felix  vive,  et  amice  vale. 

M.  Tu  quoque  cum  superis  habita  ccelestibus 
ut  mens 

^therea,  ut  sidus  nobile,  ut  alma  Dea. 

Genius  et  Viator  collocutores. 
G.  Siste  parum,  ulterius,  quaeso,  nec  tende 
viator, 

Hanc  urnam  et  tumulum  quin  prius  as- 
picias. 

Quis  tu? 

Sum  Genius. 

Quid  vis  tibi? 

Pauca  vicissim 
Hie  cupio  tecum  dicere,  amice. 

Placet. 

Virgineam  vatem  fatis  crudelibus  haustam 
Aspice  ut  hasc  in  oe  fictilis  urna  tenet! 
Annos  quot  vixit? 

Bis  quinque. 

Canebat  et  ilia 

Docta  modos? 

Sic  est. 
Tu  mihi  mira  canis. 
Scribebat  dulci  genialia  carmina  versu, 
Sponte  sua  modulans,  sponte  suapte 
canens. 

Naturae  o  rarum  decus !  0  manifesta  Deo- 
rum 

Gloria,  quod  vates  ilia  tenella  foret  ? 
Carmen  erat  quicquid  casu  proferre  vole- 
bat, 

Quicquid  et  optabat  dicere  carmen  erat. 
Unde  illi  tantae  frugis  veniebat  origo  ? 

Sedibus  a  superis,  unde  venire  solet. 
Ut  divina  igitur  versus  faciebat  amoenos  ? 

Ut  divina,  sui  et  iussa  secuta  patris. 
Illius  an  etiam  genitor  modulamina  tractat  ? 
Tractat,  et  est  vates  candidus  atque  pro- 
bus. 

Est  probus  et  facilis,  tersus,  florensque,  de- 
censque. 

Est  quern  divino  carmine  Musa  beat. 
Mecenate  aliquo  certe  dignissimus  ille  est. 

Mecenas  Franco  rarus  in  orbe  viget. 
Nemo  hodie  ingenuas  donis  conformibus 
artes 


GEOFROY  TORY 


Aut  fovet,  aut  ulla  sorte  fovere  parat. 
Non  est  in  predo  probitas,  nec  Candida 
virtus. 

Infelix  adeo  regnat  Avaricia. 
Fraus,  dolus  et  vitium  prestant;  virtutibus 
omne 

Postpositis  miserum  serpit  ubique  ne- 
phas. 

Quid  facit  ille  igitur  Musis  excultus  amoe- 
nis? 

In  propria  gaudet  vivere  posse  domo. 
Ad  reges  alacri  deberet  tend  ere  passu. 

Non  curat,  quoniam  libera  corda  gerit. 
Isti  nonnunquam  gaudent  spectare  po- 
tentes 

Carmina,  sed  quid  turn:  nictibus  ilia 
beant. 

Deberent  gemmis  auroque  rependere  puro 

Aurea  de  superis  carmina  ducta  polls. 
Sed  potius  fatuis,  nebulonibus  atque  pro- 
phanis 

Contribuunt  stulti  grandia  dona  leves. 
Ille  suam  natam  studiis  ornabat  honestis.-' 

Ornabat  studiis,  artibus  atque  bonis. 
An  quoque  et  ilia  libens  patris  praecepta 
tenebat.'' 

Nil  magis  optabatquam  patris  ora  sequi. 
O  quam  grandis  honor  patriaeque  patrique 
fuisset 

Integra  si  vitae  munia  adepta  foret! 
Nimirum  Francis  in  sedibus  ilia  puellas 

Ante  omneis  alias  gloria  prima  foret. 
Insignis  facie,  vultu  formosa  modesto, 

Moribus  et  dictis  aurea  tota  bonis. 
Ad  se  corda  hominum,  iuvenumque,  se- 
numque  trahebat 

In  sua  constanti  vota  sequenda  fide. 
Mira  mihi  dicis? 

Dico  tibi  vera,  viator. 
Ingenuae  speculum  nobilitatis  erat. 
O  nimis  immensus  dolor!  o  dolor  asper  et 
angor ! 

Tarn  rapido  talem  posse  perire  gradu ! 
Quid  pater  interea  faciet.'' 

Mcestissimus  ipse 
Cordolium  et  lachrymas  perferet  assi- 
duas. 

Ille  preces  melius  superis  coelestibus  amplas 
Funderet  et  precibus  iungeret  exequias. 
Exequias  precibus  iungitque  fovetque  pe- 
rennes, 

Implet  et  assuetos  fomite  et  ignefocos. 
O  tarn  plausibili  virguncula  digna  parente ! 

O  etiam  tali  stirpe  beate  pater ! 
Ilia  modo  Isetis  in  nubibus  alma  refulget. 


Ut  jubar  exortum,  sidus  ut  aureolum. 
v.  iEthereis  fulgens  in  sedibus  ilia  triumphet, 

Et  patrem  secum  filia  grata  trahat. 
G.  In  rem  vade  tuam,  si  vis  modo  abire,  viator: 

Hsec  sunt  quae  volui  dicere.  Amice,  vale, 
v.  Sis  felix  tumuli  custos,  urnasque  retector; 

In  rem  vado  meam  sedulus  et  properus. 

Impressum  Parrhisiis,  e  regione  scholae 
Decretorum,  anno  Do  [mini]  M.D. XXIII, 
die  XV  mensis  febr. 

X 

Godofredus  Torinus  Biturigicus  lectori  candido 

s{alutem'). 

Egregii  quidam  sunt  felici  hoc  seculo  picto- 
res,  lector  humanissime,  qui  suis  lineamentis, 
picturis  et  variis  coloribus  deos  gentilitios  et 
homines,  itemque  alias  res  quascunque  adeo 
exacte  depingunt,  ut  illis  vox  et  anima  deesse 
tantummodo  videatur;  sed  ecce,  lector  hu- 
manissime, ego  iam  tibi  DIorum  propemodum 
more,  domum  oiFero,  non  solum  suis  linea- 
mentis et  partibus  elegantem  et  absolutam,  sed 
etiam  pulchre  loquentem  et  encomio  sese  par- 
ticulatim  describentem.  OfFero  etiam  tibi  sep- 
tem  Epitaphia  antiquo  more  et  sermone  veter- 
rimo  conficta  et  conscripta,  varies  miserorum 
hominum  amantum  afFectus  pervio  quodam 
modo  ostendentia.  Ipsa  tibi  (inquam)  lubens 
offero,  non  ut  ita  verbis  obsitis  loquaris  aut 
scribas,  sed  ut  antiquitatem  ipsam  tibi  ante  ocu- 
los  tuos  faciles  et  iucundissimos  habeas,  et  te 
a  me  benemonitum  intelligas,  ut  in  amoris  in- 
sani  laqueos  et  angustias  devenire  caveas. 
Vale. 

Y 

Gotofredus  Torinus  Biturigicus  ad  reginam 
Leonoram. 

Pergimus  hunc,  Leonora,  tuum  celebrare  tri- 
umphum. 

Quern  tibi  Parrhisii  contribuere  tui. 
Tam  pia  tu  nobis  extas  regina  quod  omnes 

Dicere  te  veram  possumus  esse  Deam. 
Esse  Deam  sane  te  dicere  possumus  almam, 

Quum  nos  optata  denique  pace  beas. 
Pace  beas  omneis  qui  Gallicaregna  frequentant. 

Fata  adeo  nutu  te  statuere  bono. 
Ut  proba,  sancta  edam,  clemens,  et  vera  bea- 
trix, 

Adduxti  patris  Lilia  nostra  suae. 
Vis  dicam  paucis,  et  verum  proloquar,  in  te 
Omnibus  est  nobis  publica  et  ampla  salus. 


APPENDICES 


323 


Idem  ad  eandem. 

Di,  Leonora,  tibi  felicia  Fata  perennent ; 
Laetitia  es  nobis.  Pax,  et  amoena  Quies. 

Idem  Torinus  ad  Gent  em  Gallicam. 

Exulta  et  laetare  simul,  gens  Gallica,  cernis 

Quas  tibi  delicias  iam  Leonora  facit. 
Ipsa,  Dei  (credas)  manifesto  numine  missa, 

Te  facit  egregia  denique  pace  frui. 
Sparge  rosas,  lauros,  violas,  nardumque,  cro- 
cumque, 

Et  genio  indulge  tota  iocosa  tuo. 
Sed  videas  etiam  ne  tu  gens  optima  cesses 

Ante  Deum  laudes  accumulare  pias; 
Si  canis usque  Deo  laudes,  et  phanafrequentas, 

(Crede  mihi),  pacis  commoda  longa  feres; 
Aurea  sub  facili  spectabis  secula  coelo, 

De  terra  et  felix  aurea  farra  metes. 
Adde  quod  et  pariter  fies  gens  aurea  tota. 

Perge  igitur  summo  sacra  iterare  Deo. 

Z 

Ludovica,  regia  mater,  suam  GalHam  alloqui- 
tur  et  consolatur.  Go.  Torino  Bit.  scribente. 
Gallia,  quid  de  me  luges  maestissima.'  nescis 


Quod  genus  omne  hominum  morte  pcrire 
solet  ? 

Respira,  et  tecum  expende  ut  te  provida  ab  atris 

Hostibus  et  diris  casibus  eripui. 
Linquo  tibi  gnatum  coelcsti  numine  regem, 

In  pulchra  qui  te,  me  duce,  pace  fovet. 
Te  penes  in  gremio  la^tus  sua  pignora  cernit, 

Orbem  qu£  totum  sub  tua  sceptra  dabunt. 
Reginam  virtutis  habcs  et  pacis  alumnam, 

Sidere  felici  quae  tua  fata  beat. 
Altera  et  una  tibi  est  etiam  regina  sacrati 

Quse  soror  est  regis  et  benesuada  tui. 
Principibus  tantis  non  est  tibi,  chara,  gemen- 
dum, 

Gallia!  tu  felix  talibus  es  ducibus. 
Ipsa  ego  te  prorsus  moriens  non  desero,  nanque 

Immortale  meum  tu  modo  nomen  habes. 
Semperapud  superum  pro  tedevotaTonantem 

Orabo,  ut  victrix  et  generosa  regas. 
Sparge  mihi  lauros,  violas,  nardosque  cro- 
cosque; 

Stracte  (^/c)  etiam  flores,  lilia,  serta,  rosas; 
His  super  adiungas  summiscum  laudibus  hym- 
nos, 

Exequias,  modules,  thura  sabea,  preces. 
Aras  nedubita  mihitendere.  Nam,Deautalma 
In  coelos  pergo  ianque  volare.  Vale. 


\ 


M 


i 


ABBATIA,  Bernard, 
'  Prognostication  touchant 
le  mariage  du  tres  honore 
et  tres  aim'e  Henry, ^  etc., 
282. 

Abr'eg'e  des  Meditations  de  la 
vie  de  Jesus-Christ,  229. 

Accents.  See  Orthographic 
marks. 

Adolescence  Clementine.  See 

Marot,  Clement. 
Adriani  Behotii  diluvium, 

280  note  2. 

^DILOQUIUM,  etc.,  29-30, 

31,  92-93,  201-202. 

Agricola,  Rodolphe,  'De  in- 
vent ione  dialectic  a,''  267. 

Alard,  Guillaume,  his  mark, 
273- 

Alphabetum  hebraicum,z'] \ 

-275. 
Amman,  Jost,  251. 
Anciens  bois  de  P  imprimerie 

Fick,  260  note  3. 
AngeBologninus,  'De  la  cura- 

tion  des  ulcer es  exterieurs,' 

41. 

Annius  of  Viterbo,  3,61. 

Ant  is  tit  is  incomparabilis  Mi- 
chaelis  Bodeti,  i^y. 

Apollonius  Alexandrinus,  De 
constructione,  276. 

Apologie  pour  la  foi  chrest- 
ienne  contre  les  erreurs  con- 
tenues  en  un  petit  livre  de , 
Messire  Georges  Halevin, 
138. 

Apostrophe.  See  Orthograph- 
ic marks. 

Aristophanes,  197,  274. 

Artificialis  introductio  Jaco- 
bi  Fabri  Stapulensis,  268 
note  4. 

Asselin,  Pierre,  273. 

Assier,  Alexandre.  See  So- 
card,  Alexis. 

Aumale,  Due  d\  144,  1 54, 
163,  164  note  I. 

Aumont,  Blanche  d^ ,  arms 
of,  11 1. 

Avaricum.  See  Bourges. 

B  AB  O  U,  Philibert,  2,3,4, 
5,  6,  10,  51-53,  60-61, 
65,  68,  69,  72. 


D 


Bade,  Conrad,  232,  233 

his  mark,  266. 
Bade,  Josse,  57,  145,  200, 

20I  . 

Baif,  Lazarus,  '  Annota- 
tiones,'  etc.,  208-209. 

Baker,  David,  293. 

Bar  bier,  Olivier, 2oi  note  2 . 

Baron  Collection,  254  and 
note  2. 

Barra,  Jean,  148. 

Barthelin,  Andre.  284. 

Bassentin,  Jacques,  '  U  as- 

.  tronomique  discours,^  261, 
note  4. 

Basset,  Denis,  230  note  2. 

Beaupr'e,  M. ,' Notice  biblio- 
graphique  sur  les  livres  li- 
turgiques  .  .  .  de  Toul  et 
de  Verdun,  1  50  note  4.  ^ 

Beauvoys.  See  Delaigue,  Eti- 
enne. 

Beckford,  William,  167. 
Be  Hay,  Jean  du,  214,  215 

note  I,  280. 
Be  Ion,  Pierre,  'Hist  aire  de  la 

7iature  des  oiseaux,^  250; 

'Les  observations^  etc.  ,250. 
Bernard,  August e,  '  Les  Eti- 

ennes,  et  les  types  grecs  de 

Francois  /,'  197  note  4, 

199  note  I,  2J1  note  i. 
Bernard,  Salomon  {'Le  Petit 

Bernard''),  258,261  and 

note  4. 
Beroaldo,  Filippo,  2. 
Berosus  Babilonensis, 

Tory" s  edition  of,  3,60-64. 
Bertaud,  Jean, '  Encomium , ' 

etc.,  200—201. 
Bertrand,  Jean,  Cardinal 

of  Sens,  250,  251 . 
Berty,  Adolphe,  'Les  trois 

tlots  de  la  cite,''  3  5  and  note 

3- 

Bessault,  Thibault,  285. 
Beze,  Theodore  de,'  Poema- 

ta,'  232-235,  266.  ' 
Bible  in  French,  Antwerp, 

1530,254.  , 
Bible  in  Latin,  1532,  204. 
Bible  in  Saxon,  Lubeck, 

1533.  254- 
Bible  in  Latin,  I  5  38-I  54O1 
215. 


Bible  in  Latin,  1 543,  254. 

Bible  after  Holbein,  i  547, 
258. 

Bible  in  Flemish,  Antwerp, 

1556, 254. 
Biblioth'eque  de   P amateur 

champenois,  279. 
Binet,  Denis,  257. 
Blazon  des  heretiques,  1  80. 
Bl'es  de  Beauce,  Halle  aux, 

Tory' s  removal 3  5  ;  3 7, 

38,40  and  note  4,41, 97, 

295. 

Bonfons,  Jean, his  mark,  z66. 

Bonhomme,  lolande,  widow 
ofThielmanKerverl,  1 49, 
204,  214,  215  and  note 
1,  221,  230,  241,  242, 
280. 

Bonnemere,  Anthoine,  276. 

Boorluut,  M.,  199. 

Bouchet,  Jean,  '  Les  angois- 
ses  et  remedes  damour  du 
Traverseur, '  etc. ,  212- 
213,  279;  'Le  jugement 
poetic  de  Phonneur  femi- 
nin, . .  .parle  Traverseur,' 
213. 

Bouchetel,  Guillaume,  'Le 
Sacre  .  .  .  delaRoyne' 
'Lentree  de  la  Royne, '  etc. , 
34- 

Boudet,  Michael  de,  137. 
And  see  '  Antistitis  i?icom- 
parabilis.'  > 

Bouillon,  M.  le  due  de, '  Or- 
donnances,'  245  note  z. 

Boull'e,  Guillaume,  98,  99. 

Bouquet  des  feurs  de  S'ene- 
que,  Le,  273. 

Bourges,  I,  2,  4,  66-67; 
coat-of-arms  of,  129. 

Bourgogne,  College  de,  6, 7, 
295.  , 

Boursette,  Madeleine, widow 
of  Francois  R  egnault,  228, 
243,  246,  284, 285. 

Boyer,  Hippo lyte,  '  Histoire 
des  imprinieurs  et  libr aires ' 
de  Bourges,'  91,  222,289 
and  note  i . 

Breviariumad  ritum  diocesis  *■ 
Eduensis,  241. 

Brifonnet,  Guillaume,  Bish- 
op of  Me  aux,  176. 


p. 


326 


GEOFROY  TORY 


Br  idler,  yean,  232. 

Brie,  Jehan  de,  230  note  3,231. 

Brie,  widow  of  Jehan  de,  1 49,  229,  231. 

Brucherius,  Joannes, '  Epitome  of  the  Adages 
of  Erasmus,^  I  74,  I  76. 

Brulefer,  Etienne, '  Identitatum  et  distinctio- 
num,^ etc.,  284. 

Brunei,  Jacques-Charles,  'Manuel  du  Lib- 
raire,' 6^,  119,  120,  124,  I'^gnotei, 
140,  149  note  2,  I  50,  1 70  note  1,181 
note  2,  208  note  i,  231,  260  note  2. 

'Bulletin  du  bouquiniste,^  i860,  174  note  2. 

Bun  el.  P.,  '  Epitres  familieres,^  272. 

Buon,  Gabriel,  215  note  4,  249;  his  mark, 
284. 

Buon,  Nicolas,  249. 

CiESAR,  *  Commentaries,''  translation  of, 
178.  See  also  'Cesar,  Les  Commentaires  de.' 
Calcar,  225. 

Calvarin,  Prigent,  his  mark,  267. 
Caharin,  Simon,  his  marks,  267. 
Catherine  de  Medici,  122. 
Catherinot,  Nicolas,  hts  epitaph  of  Tory,  43, 

44,  55  note  2. 
Cavellat,  Guillaume,  250. 
'Cebes,  Table  of,'  Tory's  translation  of, 

27,  28,  85-87,  201 . 
'Cebes,  Tableau  de,'  1543,  262. 
Cedilla.  See  Orthographic  marks. 
'  Cesar,  Les  Commentaires  de, '  manuscript(au- 

thor  unknown^,  143—144,  153;  Comte 

Leon  de  Labor  de' s  description  of,  1  54- 

164. 

Chabouillet,  M.,  Notice  du  Cabinet  des  m'e- 
dailles,  255. 

'  Champ  vi.t.vKY,'  first  conceived  by  Tory,  9, 
12;  the  first  book  of,  1 4  and  note  3 ;  the 
second  book  of,  15-17;  the  third  book  of , 
17-20;  published  (^i^zg),  26;  effect  of 
publication  ^Z',  3  2-3  3  ;  orthographic  system 
of,  first  applied,  37  and  note  i,  295- 
299;  second  edition  of  (  i  549),  42,  43, 
84;  bibliographical  description  of,  81- 
84;  description  of  engravings  in,  189- 
196;  M.  Renouvier  on  engravings  in, 
262;  quoted,  I  note  2,  2  note  3,  5,  7  note 
8,  9,  12-14,  '5-16,  17,  18,  19-20, 
21-22,  23,  26,  29  «fii/^,  141,  145. 

'  Chants  royaux. '  See  Gringoire. 

Charles  IX,  144. 

Chaudiere,  Claude,  238. 

Chaudiere,  Guillaume,  229. 

Chaudiere,  Regnault,  238,  273;  his  mark, 
267,  268, 269. 


Cheradam,  Jean,  editor  of  Aristophanes,  197. 
'Chiromancy  and  Physiognomy,'  259,  261. 
Chevallon,  Claude,  231,  278. 
Chrestien,  Nicolas,  4 1 . 
Choquet,  Louis,  'Mystere  de  I' Apocalypse,' 
2 1 7-2 1 8. 

'Chronique  du  tres  vaillant  et  redout'e  Dom 

F lores  de  Grece,'  249. 
Chrysostom,  Saint,  'Homelike  Dua,'  281; 

'  Liber  contra  gentiles, '  120. 
Cicero,  'Orator,'  42;  works  of,  244-246, 

272. 

'  Civis,'  Tory''  s first  device,  2 ;  monogram  of, 
6. 

Claude  de  France,  queen  of  Francois  1, 127. 
Colines,  Simon  de,  24,  25,  29,  33,72, 101- 

116,  120-122,  146,  174,  175,  185, 

189,  197,  201,  203,  223,  239,  258; 

his  marks,  1  74,  267-269. 
'  Compendium  grammatica  graca,^  189. 
'Conference  accord'ee  entre  les  predicateurs. 

La,'  etc.,  257. 
'  Copie  de  1' arrest  du  grand  conseil,'  etc.  ,38. 
'Copie  d' une  lettre  de  Constantinople,'  etc., 

38- 

Coqueret,  College,  5,  295. 

Corrozet,  Gilles,  148,  250,  263;  'LesFables 

d'  Esopes  mises  en  rithme  fran^ois,'  207; 

his  mark,  269-270. 
Corrozet,  Gilles  II,  '  Tr'esor  des  histoires  de 

France,^  270. 
Corrozet,  Jean,  270. 

CosMOGRAPHiE  DU  Pape  Pie  II.  See  Pius  II. 
Cotter eau  {^also  Cotereau^ ,  Philippe,  41,47. 
Cottereau,  Richard,  41,  47. 
Cousin,  Jean,  237,  238,  254,  263. 
Cousteau,  Nicolas,  204. 
*  Coustumier  de  la  baronnye,'  etc.,  41 . 
'  Coutumes  generales  d'  Orleans,  266  note  i, 
274. 

Coxe,  Leonard,  34,  293. 

Crescens,  Pierre  des,  'Bon  Mesnager,'  204. 

DALLIER,  Jean,  237. 

Danois,  Jean  Blaccus,  translation  of  Isocra- 

tes,  273  and  note  2. 
David  Matthaus,  244;  his  mark,  270. 
' De  judiciis  urinarum,'  etc.,  39. 
Debure,M.,and'  Les  Comment  a  ires  de  Cesar , ' 

161. 

Delaigue,  Etienne,  178. 
Delange,  MM.  ,151. 

'Description  de  la prinse  de  Calais,'  etc.,  284. 
Dev'eria,  Achille,  150  note  2,  230  note  3, 
254. 


INDEX 


327 


Dibdin,  Jhomtis  F.,  'Bibliographical  De- 
cameron,^ I  10,  123,  zj()  notes  ^  ami 6. 

' Dictionarium  latino-gallicum,'  iSgnote  i. 

Didot,  Ambroise  Firmin,  28,  47,  91,  96, 
98,  136  note  3;  ' Essai  sur  la  gravure,' 
150,  151, 225, 259. 

Didot,  Firmin,  pire,  144,  166. 

Dietz,  Ludowich,  254. 

Diodorus  Siculus,  Macault' s  translation  of 
first  three  books  of,  47,  136,  205-207; 
manuscript  of ,  144,  166-168. 

Dives.  See  Ride,  Guillau?ne  de. 

'Divi  foannis  Chrtsostomi  liber  contra  gen- 
tiles,^ 1  20. 

Do  let,  Etienne,  117. 

Dore,  Pierre,  'Dialogue  instructoire  des  chres- 

tiens,'  222. 
Dubois,  Simon,  25,196,  197, 
Dupr'e,  Galliot,  135  note  \,  178,  196,  204. 
Dupuy,  7.,  273. 

Duradier,  Dreux,  'Les  Recreations  his  to- 
ri ques,^  170. 

Durand,  M.,  259  note  i . 

Dure  (^Duraus^ ,  Robert,  5  and  note  3. 

Diirer,  Albrecht,  16  and  note  2,  252.  See 
also  Meigret. 

Duverdier,  M.,  98. 

'ECONOMIC  XENOPHON,'  Torf  s 
translation  of,  30-31,  93-97. 

EgNASIO,  J.  B.,  SUMMAIRE  DE  ChRONIQUES, 

Tory' s  translation,  28,  42,  88-91,  222. 

' Elegia  .  .  .  ad  Joach.  Bellaium,''  etc.,  278. 

Eleonora  of  Austria,  queen  of  Francois  I,  'Le 
Sacre  et  coronnement  de,'  34,  130- 
131,  202  ;  '  Entree  de,  en  sa  ville  et 
CITE  de  Paris, '3 4, 1 3  i-i  33, 202;  Tijrj'j 
verses  to,  35,  132-133. 

'  Empereurs  de  Turquie,  Histoire  des, '  138. 

'Enchiridion,  preclare  ecclesie  Sarum,'  etc., 
1 99-200. 

English  booksellers,  idiosyncrasies  of,  1 99  note 
2. 

'Entree  de  la  Royne,'  etc.  See  Eleonora. 
•Epitaphia  latina  ET  GALUCA '  (^on  Louise  de 

Savoie),  35. 
' Epitoma  singularum  distinctionum,''  etc., 

282. 

Estienne,  Charles,  235,  244-245 ;  'De  dissec- 
tionepartium  corporis  humani,  '223-226; 
'De  nutrimentis,'  271;  his  marks,  272. 

Estienne,  Henri  I,  i  74. 

Estienne,  Henri  II,  17,  69,  268,  269,  271. 

Estienne,  Robert,  33,  146,  175,  185,  189 
and  notes  2  and  3,  204,  208,  215,  216, 


235,  244,  245,  258,  269,  286;  kuijij > 
printer,  39,  40;  his  marks,  270-272. 

Eusebius,  '  Ecclesiastical  history,'  135,  189. 

' Exemplaria  litterarum ,'  etc.,  189  note  i . 

FANTE,  Sigismunde,  'Thcsauro  de'  scrit- 

tori, '  I  5  and  note  3 . 
'Faulcheur,  Le.'  SeeRoffet,  Jacques. 
F'eret,  Martin,  37. 

Fezandat,  Michel,  his  mark,  272-273. 
Fick  Press,  Geneva,  260  note  3. 
'  Fifteen  Effusions  of  the  Blood  of  our  Saviour, ' 
228,  229. 

'Figure  de  1' ancienne  et  de  la  nouvelte  alli- 
ance,' 253-255. 

'Figures  et  portraicts  des  parties  du  corps  hu- 
main,  Les,'  252. 

Fortunatus,  Robertus.  See  Dure,  Robert. 

Fouquet,  Jean,  171. 

France,  College  de,  39. 

Francois  I,  29,  note  l ;  appoints  Tory  king' s 
printer,  32-34;  and  extra  bookseller  to 
the  University,  36,  294;  remodels  insti- 
tution of  king's  printers,  39-40;  ordi- 
nances of,  134-135;  in  'Les  Commen- 
t aires  de  Cesar,'  157-163;  and  in  Ma- 
cault's  translation  of  Diodorus,  167-168. 

Francois  de  Valois,  Dauphin  of  France,  3  1, 
38,97-98. 

Frellon,  Jean,  258. 

GAGUIN,  ;?i7/^^rr,  178. 
Galen,  'De  anatomicis  administrationibus,' 
203. 

'Gallic  Hercules,  The,'  141. 

Gannay,  Germain  de,  3  and  note  2,  54. 

Garamond,  Claude,  33,  145. 

Genin,  M.,  'Introduction  to  Palsgrave' s  Les- 

claircissement  de  la  langue framboise,'  1 4, 

292  note  I,  293-294. 
'  Gerard  d'  Euphrate,  '241. 
Gerard  de  Vercel,  verses  of,  6,  71. 
Gering,  Ulric,  277. 

Gerou,  Dom,  ' Bibliotheque  historique  des  au- 

teurs  orleanais,  '273. 
Ghisy,  Georges,  244  note  2. 
Gibier,  Eloi,  266  and  note  i ;  his  mark,  273- 

274. 

Gillot,  Jean, '  Dejuridictione  et  imperto,' etc. , 
39;  'Isagoge  in  juris  civilis  sanctionem,' 
39- 

Girault,  Francois,  239. 

Godefroy,  miniaturist,  identity  of  with  Tory 

discussed,  142—144;  153—166. 
Gourmont,  Benoit  de,  his  mark,  276. 


GEOFROY  TORY 


328 

Gourmont,  Francois  tie,  197  note  4,  271. 

Gourmo?it,  Gilles  de,  3,  26,  28,  1^0  and  note 
3,54,  64,  1 97 ;  the  first  printer  of  Greek 
in  Paris,  26;  his  marks,  274-276. 

Gourmont,  Jean  de,  1 97  note  4,  271. 

Gourmont,  Jerome  de,  275;  z^?/;  mark,  276. 

Gourmont  arms,  275        1 . 

Gourmont  family,  275        i . 

'Gradual,^  ijy, 

Gravius,  J.  C,  'Thesaurus  antiquitatum 

romanarum,'  20%  and  note 
Graf,  Urs,  179. 
Grandin,  Louis,  his  marks,  277. 
Greban,  Simon  de,  '  Catholiques  ceuvres  et 

actes  des  Apostres,^  2 1 7-2 1 8. 
Greek,  Torf  s  unfamiliarity  with,  27  note. 
Greek  alphabet,  1 89,  280  note  2. 
Gringoire,  Pierre,  'Chants  royaux,^  180- 

181,  183,  184;  Hours  in  rhyme,  180; 

'Notables  enseignemens,'  etc.,  196. 
Grolier  (^Groslier),  Jean,  12,  45,  145. 
Groulleau,  Estienne,  241,  249. 
Gryphe,  Francois,  207  and  note  i . 
Gualtherot,  Vivant,  43. 
Gueroult,  Guillaume,  'Hymnes  du  temps,' 

261  and  note  4. 
Gueullard,  Jean,  his  marks,  277. 
Guillard,  Charlotte,  her  mark,  277-278. 

HAIENEUVE,  16. 

Hale V in,  Georges,  138. 

Harleian  MSS.,  158. 

Harley,  Robert,  Earl  of  Oxford,  I  58. 

Harsy,  Olivier  de,  278. 

Henon,  Jean,  38. 

Henri  II,  169;  Entree  de,  z^^-2^S. 
Herverus  de  Berna,  2,  3,  57,  58. 
' Hexastichorum  moralium,^  etc.,  277. 
'Histoire  du  Saint  Graal,^  1 78. 
'  Histoire  pa  la  dine,  '249. 
Hongont,  Jean,  5  7  i . 

Honorat,  S'ebastien,  2 1  5  //s/^"  4. 
Hopyl,  Wolfgang,  150,  26S  note  ^. 
Hornken,  Louis,  5,  68,  69. 
Hotot,  Fabian,  266. 
Houic,  Antoine,  285. 

Hours  of  1524-25,  quarto,  24,  45,  47, 
I  o  I  - 1 19;  //?/ifi  of,  I  \  ()  note  \ . 

Hours  of  i  527,  octavo,  Colines,  25, 45, 47, 
I  20-1 22. 

Hours  of  i  527,  quarto,  Dubois,  25,45,47, 

I  22-124. 
Hours  OF  1529,  \  6mo,  29,  125-126. 
Hours  of  i  53  i  ,  quarto,  25,  1  26-1  28. 
Hours  OF  (?),  ffr/tffff,  25,  128-129. 


Hours  of  1515,  Simon  Vostre,  172. 
Hours  of  1536,  octavo,  208. 
Hours  ^1541,  Mallard,  40,  218. 
Hours  of  I  542,  Bonhomme,  220— 22 1 . 
Hours  of  1542,  Lecoq,  221-222. 
//ffj/rj  tf/"  i  542,  Mallard,  40,  2 1 9-220. 
Hours       543,  Colines,  quarto,  209-2  12. 
Hours  of  Colines,  octavo,  212. 

Hours  of  I  ^^y  (.?),  Regnault,  227-229. 
//ffi/rj  ff/" I  547  ( ?),  5r/>,  229-23  I . 
Hours  of  1548,  Merlin,  231-232. 
Hours  of  1549,  Chaudiere,  238-239. 
Hours  of  1550,  Boursette,  i6mo,  243. 
/fear/  o/"  1550,  Kerver,  octavo,  218-219, 

243-244. 
Hours  of  I  5  50,  Roigny,  1 6^5,  241 . 
//car/      5  5 2,  Kerver,  246. 
^(?arj  fl/" I  556,  Kerver,  251-252. 
Hours  of  1574,  Kerver,  226-227. 
Z/ci/r/  ;>z  rhyme.  See  Gringoire. 

'INSIGNIUM  aliquot  virorum  icones, ' 
260. 

' Institutionum  civilium,'  etc.,  278. 

'ItINERARIVM  PROVINCIARUM  OMNIUM  AnTO- 

NiNi  AuGUSTi,  ^/r.,  Tory' s  edition  of,  5, 
69-72. 

JANOT,  Z)f/7)i;,  222,  267^;  appointed  king' s 

printer,  302-303. 
Joly,  Abbe  de,  5  5  note  2. 
Jollat,  Mercure,  223,  224. 
'Jours  moralises,  Les,'  228. 
Just  el,  Christ  ophe,  158. 
Juste  I,  Henri,  158. 
72^j/;>z  Martyr,  Works  of,  \Sg  note  3. 

KERVER,  Jacques,  149,  224-226,  230, 

239, 252. 
Kerver,  Jean,  4 1 . 

Kerver,  Thielman  I,  41,  149,  199,  230. 
And  see  Bonhomme. 

Kerver,  Thielman  II,  218,  226,  243,  246, 
251,  279. 

King' s  binders,  308-3  1 1 . 

King' s  librarians,  308-3  1 1 . 

King' s  printer.  Institution  of  office  of ,  32,  34 
and  note  2;  title  bestowed  on  Tory,  34- 
36;  institution  of,  remodeled,  39;  ////  of 
holders  of  the  office,  303-308. 

LA  Y,h.K'^^,Jean  de,'i,i,note  3,  35  note\. 

Labor  de,  Comte  Leon  de,  24  note,  143;  his  de- 
scription of  the  MSS.  of '  Les  Commen- 
taires  de  Cesar''  and 'Les  Triomphes  de 


INDEX 


329 


Petrarque,'  illustrated  by  'Godefroy' 
1 54-166. 

'  Labours  of  Hercules,  The,^  182,  184. 

La  Caille,  'Histoire  de  I' imprimerie,^  6,  24 
Wf/f' 1, 28, 40,43, 44, 99, 1 7  5, 284,28  5. 

La  Croix  du  Maine,  143,  145. 

La  Guierche,  Michel  de,  42. 

Lallemand,  Jean,  3,  4,  65,  68. 

Lallemand,  Jeanne,  4. 

Lancelot,  M.,  170. 

La  Forte,  Heirs  of  Maurice  de,  250. 

La  Porte,  Widow  of  Maurice  de,  249;  her 
mark,  283-284. 

La  Sapienza  (^college  at  Rome),  2. 

La  Thaumassiere,  'Histoire  du  Berry, ^  290. 

Latini,  Brunetto, '  Le  Tresor,^  1 7  and  note  3 . 

Laulne,  Etienne  de,  163. 

'Laurent a  Valla  de  lingua  latina  elegantia, ' 
etc.,  1 20  and  note  i . 

Le  Bas,  Jacques,  273. 

Lecoq,  Jean,  177,  196,  221,  258,  279. 

LeDuaren,  Francois, '  De  sacris  e celesta  min- 
is teriis  ac  beneficiis,^ etc. ,  244. 

Lefevre d^ Staples ,  Jacques ,'  Commentarii  in- 
itiator ii  in  quatuor  Evangelia,  i  74-1  76. 
See  also  '  Artificialis  introductio. ' 

Le  Hullin,  Perrette,  wife  of  Tory,  6,'^'J;  and 
his  successor,  38,42,  144,  150. 

U  Empereur,  Martin,  254. 

Le  Noir,  Philippe,  1 78, 1 80;      marks,  279. 

LeoBaptista  Albertus,  Tory's  edition  of,i^, 
68-69. 

Leonardo  da  Find,  i  5. 

Le  Petit,  Pierre,  36. 

Le  Preux,  Poncet,  178. 

Le  Prince,' Essai  historique  surla  bibliotheque 
du  roi,'  169  note  2. 

Le  Riche.  See  Ricke,  Guillaume  de. 

Les  Angeliers,  Arnould,  216,  217. 

Les  Angeliers,  Charles,  216,  217,  222. 

Letellier,  Pasquier,  241,  242. 

'Liber  de  opificio  dei,'  1 89. 

Libraires jures.  See  Paris,  University  of. 

Livy,  translation  of,  MS.  ,171. 

Longueil,  Christophe  de,  6,  70,  72  note  i . 

Longts,  Jean,  241,  249. 

Lorraine,  Duchesse  Regnee  de  Bourbon,  180. 

Lorraine  cross.  The,  47,  9 1 , 1 78 ;  how  far  a 
guide  to  Tory's  work,  147-152;  in  the 
iSth century,  zoS;  at  Orleans,  Chartres, 
Poitiers  and  Lyon,  258. 

Lottin, '  Catalogue  des  libraires,' gg,  270  note 
I, 273, 281. 

Louise  de  S  avoie,  mother  of  Francois  I,  Epi- 
taphs ON, 35,13  3-1 34, 202-203. 


Lucas  Paciol, '  Divina  proper tione,  '15. 
LuciAN,  Dialogues  of,  Tory' s  translation  of, 

27,85-87. 
LuciAN,  'La  Mouche,'  Tory' s  translation  of, 

32, 99-100. 
Lud,  Gauthier,  150. 

Luther,  ' Enarrationes'  {^on  the  Bible),  Nu- 
remberg, 1555,  254. 

M  A  C  A  U  LT,  Antoine.  See  Diodorus  Siculus. 

Maittaire,  M.,  ' Annales  Typographiques,' 
1 76,  268  note  3. 

Mallard,  Olivier,  Tory' s  successor  at  the  sign 
of  the  Pot  Casse,  38-39 ;  king's  printer, 
39540,  41,  43,  128,  129,  218. 

Marc  hand,  J.,  60. 

Marcorelle,  Jean, ' BookofThermes,' z6i  note 
4- 

Marguerite  d'  Angouleme,  Queen  of  Navarre 
(^sister  of  Francois  I),  123,  i  24  note  i , 
244. 

Marnef,  Geofroy  de,  60,  64. 

Marnef Freres,  3,213;  their  mark,  279-280. 

Marot,  Clement,  ' Ladolescence  Clementine,' 

36-37,  138-140,  zg6;' Psalms,' I  ^^j, 

260. 

Marot,  Jan  (^father  of  Clement),  'Sur  les 
deux  heureux  voyages  de  Genes  £3"  F enise,' 
etc.,  140. 

'Marques  Typographiques,*  See  Silvestre. 
Masse,  Rene,  3  3 . 

Mauroy,  Nicolas,  'Les  hymnes  communes  de 

I'annee,'  196. 
Mazochi,  'Epigram  mat  a,'  etc.,  7  and  notes  8 

and  9. 

Meigret,  Louys,  'Les  quatre  livres  d'  Albert 

Durer'  (^translatio?i),  252,  283. 
' Memoir es  de  la  societe  des  antiquaires  de  Mo- 

rinie,'  255. 
' Menagiana,'  55  note  z,  93. 
Menier,  Maurice,  his  mark,  280. 
Merlin,  Guillaume,  2 1  5,  2  i  7, 2  3  i ,  2  3  2 ;  z?"// 

mark,  280. 
Mesviere,  Estienne,  z^^,  246. 
•  Meubles  et  amies  du  moyen  age,'  254. 
Milan,  Paulus  Jovius' s  Lives  of  the  Dukes  of. 

See  Paulus  Jovius. 
Millaus,  Johannes,  'Praxis  criminis  perse- 

quendi,'  etc.,  216-217. 
Missal  {  Toul),  1508,  i  50. 
Missal  \Paris),  1539, 148,  2 1 4-2 1  5,242. 
Missal  (^Par is),  folio,  no  date,  280. 
Missal (  Cluny),  1550,  242. 
Missal  (^Paris),  1559,  149. 
'Monstre  d' abus  contre  Nostradamus,'  284. 


330 


GEOFROY  TORY 


Montaiglon,  A.  de,  'Archives  de  r  art  fran- 
fais,  '132  note  i ;  Recueil des poesies,  etc. , 
281. 

Montenay,  Georgette  de,' Emblesmes  et devises 

chrestiennes,''  148. 
Mont'eux,  Hieronime, ' Conservationde sant'e* 

etc.,  267. 
Montpellier,  137. 
Morante,  Marquis  de,  73. 
Morel,  Guillaume,  his  mark,  280. 
Moreri,  Historical  Dictionary,  290-291. 
Muret,  Marc-Antoine,  'Juvenilia,^  249, 

283. 

N  £  O  B  A  R,  Conrad,  hing^  s printer  for  Greek, 
36,  39,  40;  letters  patent  of,  299-302. 

i^ew  Testament  and  Apocalypse  (  Boursette') , 
246. 

New  Testament  in  Greek  and  Latin,  1549, 
273- 

Nivelle,  Sebastien,  2 1  5  note^;  his  mark,  2S0- 
281. 

'Notice  sur  les  graveurs^  ( 1 807),  26 1 ,  note 
4- 

Nyverd,  Guillaume,  his  mark,  281. 
Nyverd,  Guillaume  de,  his  mark,  282. 

OPORIN  {Basle),  225. 
'Ordonnances  du  ^oy,^  published  by  Tory, 
I3+-I35- 

Orthographic  marks,  19-20, 100,  140,295- 
299. 

Orus  Apollo,  Hieroglyphs  of,  translated 

by  Tory,  25,  100. 
Ovid,  'Metamorphoses,'  260,  261  andnote\. 

PALATINO,  Giovanbattista,^2  note  2. 

Pallier,  yean,  his  mark,  282. 

Palsgrave,  '  Lesclaircissement  de  la  langue 

fran^oise,'  i^note  i,  34,  292-294. 
Panzer,  M.,  176. 

Papillon, '  Trait'e  de  la gravure sur  bois, '127, 

145,  189  note  4. 
Paradin,  Claude,' Devises heroiques,' z6 1  note 

4;  'Quadrins  historiques,'  261  note  i . 
Paris,  Nicole,  his  mark,  283. 
Paris,  University  of,  libr  aires  juris      3  2  note 

2,  36. 

Passion,  The,  G.  i/^'  Rickets  Latin  poem  on, 

edited  by  Tory,  3,  57-59. 
Paulus  Belmisserus  Pontremulanus,  'Opera 

poetica,'  205. 
Paulus  Jovius  Novocomensis,  'Vita  duodecim 

vicecomitum  Mediolani,''  MS.  of,  168- 

169;  235. 


Paulus  Paradisus,  'De  modo  legendi  hebraice 

dialogus,'  276. 
Perier,  Charles,  252;  his  mark,  283. 
Perier,  Thomas,  283. 
Perier s,  Bonaventure  des,  291  note  2. 
Perot,  I  59  and  note  2. 
Perreal,  Jean,  Tory's  instructor  in  drawing, 

7,  I  5,  23  and  note  i,  24,  123. 
Petit,  Guillaume,  Bishop  of  Sen  lis,  203. 
Petit,  Jean,  2,  50,  85. 
Petit,  Oudin,  his  mark,  283. 
Petit  dictionnaire  franfais-latin,  272. 
'Petit  Jehan  de  Saintre,  Le,'  267. 
Petrarch,  259,  261 . 

Petrarque,  'Les  Triumphes'  de,  MS.,  144; 
described  by  M.  de  Labor  de,  164- 166. 

' Petri  Ruffi  Druyda  dialectica,'  etc.,  277. 

Piccolomini,  Enea  Silvio.  See  Pius  II. 

Pius II  (Pope), Cosmography  of,  Tory' sedi- 
tion of,  3  and  note  \,  54-57. 

Plantin,  Christophe,  2^1. 

Plato,  Dialogues  of,\\. 

Pies  sis.  College  of ,  3,  295. 

Pliny,  'Letters,'  285. 

Plutarch,  Politics,  Tory' s  translation  of, 

3>.  97,  99- 
PoMPONLus  Mela,  Tory' s  translation  of,  2, 
50-54. 

Porcium,  J.,  ' Pugna porcorum,'  276. 

Pot  Casse,  Tory's  first  use  of, ii;  explanation 

of,  1 2;  modifications  of, 20;  interpreted  by 

Tory  in  '  Champ fieury,'  21-22;  35,  38, 

39,  41,  42, 45-47, 72. 
■' Pourtraictz  divers,'  260  note  2. 
Prevost,  Benott,  250. 
Prevosteau,  Estienne,  his  mark,  280. 
Printers'  marks  signed  with  the  Lorraine  cross, 

265-287. 

'Procession  de  Soissons,  Le,'  etc.,  91-92. 
'P Salter ium  Davidicum Gracolatinum,'  z  52. 
'P Salter ium  Quincuplex,'  55  note  2. 
'PurgatoireLe,'  prouv'eparla  parole  deDieu,* 

230  note  2. 
Puys,  Jean      25 5. 

QUINTILIAN,  'Institutiones,'  Torfs 

edition  of,  4,  67. 

RABELAIS,  'Pantagruel,'  \  if  and  note -i,. 
'Recueil  de  plusieurs  secrets  tres-utiles  pour  la 

sant'e,'  287. 
'Recueil  des  rimes'  etc.,  287. 
'  Recueil  des  Roisde  France.'  SeeTillet,  Jean  du. 
'Reformation,  La,  des  tav ernes  et  destruction 

de gourmandise,'  281. 


INDEX 


'Regime  de  vivre, '  etc.  ,287. 
'Reglementpourr  instruction  des  proces,'  etc. , 
41. 

Regnault,  Bar  be,  228;  her  mark,  284-2  8  5 . 
Regnault,  Francois,  178,  228,  284. 
Regnault,  Widow  of  Francois.  See  Bourse  tie, 
Madeleine. 

'Reigles  generales  de  lorthographe  du 
LANGAiGE  FRANCOIS,'  a  lost  work  of  Tory, 
29, 100, 297. 

Rembolt,  Berthold,  5,  68,  69,  277,  278. 

Renouard,  M.,' Annales  des  Estienne,'  215. 

Renouvier,  Jules,  'Des  types  et  des  manieres 
des  maitres-graveurs,^  16,  119,  145, 
146,  147  2,  149-1  50,  1 72,  184- 
185,  223,  237-238,  262-263;  'Re- 
vue U7iiverselle  desArts,^  1 53-1 54, 1 79, 
205-207. 

'Repertorium  Bibliographicum,^  167-168. 

Rexmond,  Pierre,  254. 

Ricke,  Guillaume  de,  Tory's  teacher  at  Bour- 

ges,  1,2;  Latin  poem  of  on  Thu  Passion, 

Tory's  edition  of,  3,  57-59;  Jules  de 

Saint-Genois  on,  59. 
Rivard,  Claude,  148. 
Riviere,  Estienne,  223. 
Robert-Dumesnil,  M.,  'Le  pet?itre-graveur 
franfais,  i^S  note  2, 147, 148, 149,  228. 
Robinot,  Gilles  I,  287;  his  mark,  285. 
Robinot,  Gilles  //,  285. 
Rochechouart,  Francois  de,  arms  of,  iji. 
Rodolphi  Agricola  Phrisii,  'De  invent ione 

dialectic  a,'  izo,  211. 
Roffet,  Jacques,  called 'Le  Faulcheur,'  235, 

237- 

Roffet,  Pierre,  138;  his  mark,  285. 
Roigny,  Jeande,  241 ;  his  marks,  285-286. 
Ronsard,  'Les  amours,'  249. 
Rothschild,  Solomon  de,  1 20,  i  zGnote  1,127- 
128. 

Rousselet,  Jean,  Seigneur  de  la  Part-Dieu, 
4,  67. 

Royer,  Louis,  230  note  3,  231. 
♦  Rozier  historial de  France,'  178. 
Ruan,  Jean  du,  258. 
Ruccelli.  See  Rousselet. 

SACRE  ET  CORONNEMENT  DE 
LA  ROYNE,  LE.  See  Eleonora  of 
Austria, 

Saint-Amand,  Chevalier  de,  biographer  of 

Tory,  138. 
Saint-Genois,  Jules  de,  59. 
Saint-Victor,  Adam  de,  translation  of  the 

'Grand  Maria  I  de  la  mere  de  vie,'  287. 


Sainte- Marguerite,  Life  of,  z  1 9. 
Saix,  Antoine  du,  3  3 . 

Salomon,  Jean,  '  Brief ve  doctrine  pour  deue- 

ment  escripre  selon  la  propriete  du  lan- 

gaige francoys,'  296-298. 
Savigny,  Chris tophe  de, '  Tableaux  des  arts  li- 

b'eraux,'  197  tiote  \,  276. 
Schoiffer,  Pierre,  109. 
'SermonesludociCHchtovei'Neoportuen'zoif- 

205. 

Sertenas,  Vincent,  239,  241 ,242;  OT^7r^, 
287. 

Seve,  J.,  'Supplication  aux  rois,'  etc.,  284. 
Seve,  Maurice  de,  'Sauls aye,'  261. 
Seyssel,  Claude  de,  translation  of  Eusebius, 
135- 

Silvestre,' Marques  Typographiques,'  45, 46, 
47,  265,  271,  279  andnote  4. 

Sir  and,  Alexandre, '  Courses  archeologiques,' 
24  note. 

Socard,  Alexis,  and  Alexandre  Assier ,'  Livres 
liturgiques  du  diocese  de  Troyes,'  173  note 
2, 257-258. 

'Summaire  de  chroniques.  '  See  Egnasio. 

'TEMPLE  de  Chastete,La,'  272. 
Terence,  Comedies  of ,  1546,  267. 
Terentianus  Maurus,  'De  Uteris,'  etc.,  203. 
Tex  tor,  Ravisius,  'Epistolts  a  mendis  repur- 

gata,'  270. 
'Thesaurus  amicorum,'  z^g  and  note  i,  260. 
'  Thesaurus  latin  a  lingua,'  \?>g  note  i . 
'  Theses,  Les,  qui  ont  est'e  affigees  dans  la  ville 

de  Geneve,'  257. 
Thevet,  F.  Andre,  'Les  Singularitez  de  la 

France  antarctique,'   etc.,  250—251; 

' Cosmographie  U7iiverselle,'  251. 
Thiboust,  Jacques,  297. 
Thory.  See  Tory. 
Thucydides,  30. 

Tillet,  Jean  du, '  Re  cue  i  I  des  portraits  des  rois 

de  France,'  manuscript     1 44, 1 69- 1 70; 

255-257. 
'Topica  Marci  Tullii  Ciceronis,'  282. 
Toret,  symbolic  use  of,  in  modified  form  of  the 

Pot  Cass'e,  22. 
Torinus,  Bonaventure,  291  andnote  i,  292. 
Tory,  divers  spellings  of  the  name,  i  note  i. 
Tory,  Agnes,  daughter  of  Geofroy,  birth  of,  6, 

7 3 ;  death  of,  10,  J ^;  and  the  Pot  Cass'e, 

21. 

Tory,  Agnes,  Latin  poem  on  the  death  of, 

lo-i I,  46, 73-8 1 . 
T iry,  Geofroy,  birth,  i ;  ancestry,  i ;  early  life, 

I  -2 ;  first  journey  to  Italy,  2 ;  settles  in 


332 


GEOFROY  TORY 


Paris,  2 ;  his  first  device,  z ;  at  the  Col- 
lege of  Plessis,  3 ;  at  the  College  Coqueret, 
5 ;  his  marriage,  6,73;  birth  of  his  daugh- 
ter Agnes,  6,73;  at  the  College  de  Bour- 
gogne,  6,  7 ;  first  steps  in  art,  7 ;  second 
journey  to  Italy,  J,  8 ;  returns  to  Paris,  8 ; 
becomes  an  engraver,  8 ;  and  a  bookseller, 
8 ;  employed  by  Simon  de  Colines,  8 ;  his 
study  of  the  French  language,  9 ; '  Champ 
fieury^  conceived,  9,  12;  death  of  Agnes, 
10,  73;  adopts  the  Pot  Casse  and  the 
device  'nonplus,''  1 1 ;  and  Rabelais,  i  i\.and 
note  3 ;  his  scheme  of  orthographic  marks, 
20,  55  and  note  2;  elucidation  of  the  Pot 
Casse,  21-22;  *  Champ fleury^  completed, 
24;  first  books  of  Hours,  24-25;  begins 
translator,  25;'  Champ  fieury '  published, 
26;  removes  to  the  Petit  Pont,  26,  1 19; 
first  book  printed  by,  27 ;  is  made  'libraire 
jur'e^  of  the  University,  32,  36,  100, 
294-295 ;  andking^s printer,  34, 3  5,36; 
Latin  verses  of,  35,  91;  removes  to  the 
Halle  aux  Bles  de  Beauce,  3  5 ;  last  book 
printed  by,  37 ;  probable  date  of  death  of, 
?,7,  epitaph  on,  44 ;  autograph  e/",  4  5 ; 
his  work  as  a  binder,  47;  scope  of  artistic 
acquirements  of,  141-152;  identity  of, 
with '  Godefroy, '  discussed,  1 4  2- 1 44 ;  was 
he  an  e?igraver?  144-147;  how  far  the 
Lorraine  cross  is  a  reliable  guide  to  the 
work  of,\\i-\^z;M.  Renouvier  on  iden- 
tity of,  with  '  Godefroy,'  153;  and  Simon 
V OS  tr  e' s  Hours,  172;  andSimon  de  Colines , 
174;  engravings  marked  'G.  T.'  attrib- 
uted to,  173;  monogram  of,  179;  and  the 
^  Labours  of  Hercules'  plates,  184;  vogue 
of,  among  printers,  258;  as  an  engraver 
on  metal  and  of  printers'  marks,  262, 
265 ;  domiciles  of,  in  Paris,  295 ;  brothers 
and  sisters  of,  289-290;  descendants  of, 
290-292.  See  also,  '  JEdiloquium,'  An- 
toninus, Berosus  Babilonensis,  Cebes, 
'Champ  fieury,'  'Economic  Xenophon,' 
Egnasio,  Eleonora  of  Austria,  Hours  of 
I  524-25,  1527, 1529, 1531,  Leo  Bap- 
tist a  Albertus,  Louise  de  Savoie,  Lucian, 
Marot  (  Clement) ,  Pope  Pius  II,  Plu- 
tarch ('Politics'),  Pompon ius  Mela,  Pot 
Casse,  Quintilian,  Guillaume  de  Ricke, 
Valerius  Probus,  Volaterran. 


Tory,  Jean,  father  of  Geofroy,  289,  290. 
Tory,  Madame  Geofroy.  See  Le  Hullin,  Per- 
rette. 

Tory,  Philippe,  mother  of  Geofroy,  289,290. 
Toubeau,  Jean,  43,  44,  290—291. 
Tournes,  Jean  de,  211,258,  259,  260,261 

and  note  4. 
'  Traverseur,  Le.'  See  Bouchet,  Jean. 
'  Triumphes,  Les  de  Petrarque. '   See  Pi- 

trarque. 
Trois  Couronnes,  Les,  26. 
Types  used  by  Tory,  3  5 . 

VALE M BERT,  Simon  de,  translation  of 

Plato' s  Dialogues,  41 . 
Valerius  Probus,  Tory' s  edition  of,  3,  59, 
64-67. 

Van  Praet,  M.,and  the  MS. of 'Les  Commen- 

taires  de  Cesar,'  161. 
Varlot,  M.,  'Illustration  de  I'ancienne  im- 

primerie  troyenne,'  173,197,  257-258. 
Vase  OS  an,  Michel  de,  286. 
Vaudemont.  See  Gringoire. 
Verdier,  Antoinedu,  143. 
Vernassal,  M.,  'Histoire  de  Primakon  de 

Grece'  (translation),  241. 
Vesale' s  Anatomy,  225. 
Vidoue,  Pierre,  178,  179,  197,  274,  275. 
Vincentino,  Ludovico,  id  and  note  1. 
Virgil,  jEneid  in  French,  26 1  notej^;( '  549  ) 

271. 

Viriville,  Vallet  de,  171  note  i . 

Vivian,  Mathieu,  273. 

Vivian,  Thielman,  his  mark,  287. 

Volaterran,  La  Maniere  de  parler  et  se 

TAiRE,  Tory' s  translation  of,T,z,  99-1 00. 
Volcyr,  Nicole,  de  Serouville,  'Histoire  de  la 

glorieuse  victoire,'  etc.,  181-182,  184. 
Vostre,  Simon,  Hours  published  by,  172. 

W  A  S  S  E  B  O  U  R  G ,  7?  /V/^'tf , '  Antiquites 

de  la  Gaule  belgique,'  etc.,  239-240. 
Wey,  Francis,  295-296. 
Willemin,' Monuments fran^aisin'edits,'  1 1 4. 
Woeiriot,  1 27,  1 47, 1 89  note  4,  244  note  2. 

XENOPHON,  '(Economicus:  See' Econ- 
omic Xenophon. ' 

ZANI,  145. 


A  LIST  OF  THE  REPRODUCTIONS  IN  THIS  VOLUME 
OF  DESIGNS  ATTRIBUTED  TO  TORY 
BY  M.  BERNARD. 


REPRODUCED  DESCRIBED 
ON  PAGE  ON  PAGE 

Design  on  covers :  from  the  binding  of  a  copy  of 
Petrarch,  Venice,  1525,  in  the  Library  of  the  British 
Museum.  47 

I    The  letter  Alpha :  from  the  Greek  alphabet  of  Ro' 

bert  Estienne.  189 

III  Border:  from  the  title-page  of 'Champ  fleury.'  192 

IV  Border:  from  Ovid's  'Tristia,'  'Fasti,'  etc.  Paris, 
Colines,  1541. 

V  Frieze :  from  the  Works  of  Justin  Martyr.  Paris, 
Robert  Estienne,  1 55 1  (slightly  reduced) .  189 

V    Initial :  from  the  Greek  alphabet  of  Robert  Estienne 

(1541).  189 

IX    Border :  from  the  Colines  Hours  of  1 543 .  210 

x-xix    Borders  in  niello :  from  the  Colines  Hours  of  1 543 .  211 

^  XXI    Border  used  by  Colines  on  the  title^'pages  of  various 

w^orks.  1 74 

I    Frieze :  from  a  border  of  the  Colines  Hours  of  1 543 

(reduced).  2 1  o 

I     Initial  letter  L :  from  folio  i  of'  Champ  fleury.'  22 

6    Monogram  of 'Civis.'  6 

1 2    Pot  Casse,  as  printed  in  Tory's  poem  on  his  daugh' 

ter's  death.  12 

20  Pot  Casse,  as  used  by  Tory  on  bindings.  20 

2 1  Pot  Casse :  from '  Champ  fleury,'  foKo  43 .  21 

23    Letters  I  andK,byJeanPerreal:  from'Champ  fleury,' 

folio  46.  23 


45    Tory's  autograph,  on  Manuscript  of  Cicero's  ora^ 

tions  against  Verres :  from  Bernard.  45 

45-47  Various  forms  of  the  Pot  Casse.  45-47 

48  Letter  A  with  the '  lisflambe':  from  *  Champ  fleury.*         1 92 

49  Border :  from  '  Champ  fleury.'  Afterwards  used  on 
various  works.  196 

50-51  Triumph  of  Apollo  and  the  Muses:  from  'Champ 

fleury,'  folios  29  verso  and  30  recto.  192 

1 00    Arms  of  France :  from  *  Champ  fleury,'  verso  of  title.        1 92 

lOi-i  17  Borders  and  illustrations :  from  the  Hours  of  1524- 

1525 ;  from  the  copy  in  the  British  Museum.  109-1 16 

129  The  Visitation:  from  Mallard's  octavo  Hours  of 
1 542.  Bernard  describes  only  the  octavo  edition  of 

1541.  129,218 

130  Border :  from  title-page  of  Macault's  translation  of 
Diodorus  Siculus.  136 

137    Mark  of  Pierre  Roffet.  140,  285 

140  Border  of  title:  'Isocratis  Oratoris  dissertissimi  ser^ 
mo,'  etc.  Paris,  Simonem  Colinsum,  1529.  Not 
mentioned  by  Bernard. 

141  The 'Gallic  Hercules':  from 'Champ fleury,' folio  3.  192 

1 52  Allegorical  letter  Z :  from '  Champ  fleury,'  folio  65 .  193 

1 53  Frieze  (slightly  reduced).  See  under  page  v.  189 

1 7 1  Coronation  of  the  Virgin :  from  the  quarto  Hours  of 

1527.  124 

172  Frieze  (slightly  reduced).  See  under  page  v.  189 

172    Monogram :  from  Vostre's  Hours  of  1 5 1 5 ;  from  Ber/ 

nard.  172 

179    Monogram  of  Tory.  179 

1 83  Monogram  ofTory:from'TheLaboursof  Hercules'; 
from  Bernard. 

186-188  Floriated  (Roman)  letters  engraved  for  Robert  Es/ 

tienne.  185 


1 90-1 9 1  Floriated  (Greek)  letters:  engraved  for  Robert  Es-' 

tienne.  1 89 

1 93  Letter  Y:  from '  Champ  fleury folio  63 .  1 93 

1 94  Greek  Alphabet :  from '  Champ  fleury,'  folio  71.  1 93 

195  Latin  Alphabet :  from  'Champ  fleury,'  folio  72.  193 

1 98    Title-'page  of  the  Aristophanes  of  1 528,with  the  sign 

of  Gilles  de  Gourmont  and  the  Gourmont  arms.  1 97 

206    Frontispiece  of  Macault's  translation  of  Diodorus 

Siculus.  205 

209-2 1 1  Borders :  from  Colines  quarto  Hours  of  1 543 .  210 

233  Portrait  of  Theodore  de  Beze:  from  'Theodori 

Bezas  Vezelii  Poemata,'  1548.  233 

234  Portrait  of  Luchinus,  Duke  of  Milan :  from  Pauli 

Jovii  Novocomensis,  etc.,  1549.  235 

236  A  man  on  horseback :  from  the  Entree  de  Henri  II 
a  Paris,  1549.  Usually  attributed  to  Bernard  Salo^ 

mon  (Le  petit  Bernard).  237 

240    A  fleet  of  ships :  from  '  Gerard  d'Euphrate,'  1549.  241 

263  Frontispiece  of '  Textus  de  Sphsra '  Joannis  de  Sa' 
crobosco.  Paris,  Simon  de  Colines,  1527  (reduced). 
Not  mentioned  by  Bernard. 

264  Mark  of  Philippe  Le  Noir.  279 

265  Frieze  (slightly  reduced.)  See  under  page  v.  189 

265  Mark  of  the  Marnefs.  265 

266  Mark  of  Conrad  Bade.  266 

268  Mark  of  Simon  de  Colines.  268 

269  Mark  of  Simon  de  Colines.  268 

269  Mark  of  Gilles  Corrozet.  269 

270  Mark  of  Mathieu  David.  270 

271  Mark  of  Robert  Estienne.  271 

272  Mark  of  Robert  Estienne.  272 

273  Mark  of  Michel  Fezandat.  272 


274    Mark  of  Gilles  de  Gourmont,  274 

277  Mark  of  Louis  Grandin.  277 

278  Mark  of  Charlotte  Guillard.  277 
281  Mark  of  Sebastien  Nivelle.  280 
283    Mark  of  Nicole  Paris.  283 

285  Mark  of  Gilles  Robinot.  285 

286  Mark  of  Jean  de  Roigny.  285 

287  Mark  of  Thielman  Vivian.  287 

288  The  Triumph  of  Death :  from  the  quarto  Hours  of 

1527.  124 

289  Frieze:  fromOrontiusFinaeus.  Colines,i544(slight' 
ly  reduced).  Not  mentioned  by  Bernard. 

289    Initial  G,  with  Lorraine  cross :  from  the  Roman  aP 

phabet  engraved  for  Robert  Estienne.  1 85 

325    Border:  from  Robert  Estienne's  Greek  testament, 
folio,  1550.  Not  mentioned  by  Bernard. 

338  Letter  Omega :  from  the  Greek  alphabet,  engraved 

for  Robert  Estienne.  189 

339  Illustration  from  Mallard's  octavo  Hours  of  1 542.  129,218 


TABLE  OF  CONTENTS. 


PRINTERS'  PREFACE.  page  v 

AUTHOR'S  PREFACE.  IX 

PART  I.  BIOGRAPHY.  I 

PART  II.  BIBLIOGRAPHY.  49 

I.  WORKS  WRITTEN  OR  ANNOTATED  BY  TORY,  50 

II.  BOOKS  OF  HOURS  PUBLISHED  BY  TORY  FOR  HIMSELF.  lOI 

III,  WORKS  PUBLISHED  BY  TORY  FOR  FRANCOIS  I.  I3Q 

IV,  WORKS  PRINTED  BY  TORY  FOR  PRIVATE  INDIVIDUALS.  I37 

PART  III,  ICONOGRAPHY.  141 

I.  MANUSCRIPTS    DECORATED    WITH    MINIATURES  BY 

TORY.  153 

II.  PRINTED  BOOKS  ILLUSTRATED  WITH  ENGRAVINGS  BY 

TORY  OR  HIS  PUPILS.  1 72 

III.  MARKS  OF  BOOKSELLERS  AND  PRINTERS  WITH  THE 

LORRAINE  CROSS.  265 

APPENDICES. 

I.  CONCERNING  GEOFROY  TORY'S  FAMILY.  289 

II.  VERSES  IN  HONOUR  OF  TORY.  292 

III.  TORY  ADMITTED  AS  TWENTY-'FIFTH  BOOKSELLER  TO 

THE  UNIVERSITY.  294 

IV.  CONCERNING  TORY's  VARIOUS  DOMICILES  IN  PARIS.  295 
V.  OF  THE  FIRST  USE  OF  THE  APOSTROPHE,  ETC.  295 

VI.  TRANSLATION  OF  THE  LETTERS  PATENT  APPOINTING 

CONRAD  NEOBAR  KING's  PRINTER  FOR  GREEK,  299 

VII.  EXTRACT  FROM  LETTERS  PATENT  APPOINTING  DENIS 

JANOT  king's  PRINTER.  302 
VIII.  LIST  OF  king's  PRINTERS  IN  PARIS  FROM  THE  ORIGP 

NAL  INSTITUTION  OF  THAT  OFFICE.  303 

IX.  CONCERNING  THE  KING's  BINDERS  AND  LIBRARIANS.  308 

X.  LATIN  PASSAGES  TRANSLATED  IN  THIS  BOOK.  3II 

INDEX.  325 

LIST  OF  REPRODUCTIONS.  333 


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